欧体楷书的取法

关于欧阳询的师承取法，《旧唐书·欧阳询传》云：“询初学王羲之书，后更渐变其体，笔力险劲，为一时之绝。”《新唐书·欧阳询传》云：“询初效王羲之书，后险劲过之，因自名其体，尺赎所传，人以为法。”从新旧唐书的记载来看，欧阳询书法最初开始学习王羲之，后来才慢慢形成了自己的风格。王羲之书法影响了隋唐以及后世众多的书法家，对于欧阳询取法王羲之的观点应该是在情理之中的。除了取法王羲之的说法外，也有取法王献之的观点，张怀瓘《书断》云：“真行之书,虽于大令亦别成一体。”

根据宋僧适之《金壶记》记载可知欧阳询见《右军教献之指归图》，喜而不寐，于是开始临摹，《右军教献之指归图》虽然被张彦远认为是赝品，但或可说明托王书之人至少是与王书书法风貌类似基本，而王献之作为王羲之的儿子虽有变化但实属一系，因此欧阳询取法二王，当无异议。而窦臮认为欧阳询书法取法北齐刘珉，窦臮《述书赋》云：“若乃出自三公，一家面首，欧阳在焉。不顾偏丑,翘缩爽,了枭黝纠,如地隔华戎, 屋殊户牖。”又李昉《太平广记》卷二百八所引《国史异篡》云：“率更尝出行，见古碑索靖所书，驻马观之，良久而去。数步，复下马伫立。疲则布毯坐观，因宿其傍，三日而后去。”

综上所述，欧阳询取法除了学习二王之外，亦师北齐刘珉，又参师索靖，最后形成了自己“戈戟森然”、劲峭刻厉的独特风貌。朱关田先生在综合历史记载的基础上认为“欧阳询初习梁陈时风，得大令展蹙之秘；复师北齐刘珉，笔力为之瘦挺；其后参学章草，领悟索靖用笔三味；终于综合六朝精华，融为杨隋书品。”

北齐刘珉虽然没有书迹留存下来，但通过一些历史记载可以了解基本情况。如《宣和书谱》云：“书法自王氏羲、献父子以来,其道浸以衰陋,至齐尤甚。珉善草、隶(真),遂能一洗俗学之谬,远追羲之,颇得其法,落笔佳处往往凌轹古人。”从“远追羲之,颇得其法”可知刘珉书法在北方书风的基础上又学习了王书，那么必然会兼容南北，而欧阳询“戈戟森严”的笔意,正是北方书风的余势，所以取法刘珉也有些许道理。郭宗昌认为“率更楷法源出古隶,故骨气洞达,结构独异,居唐楷第一”，《玉堂嘉话》云：“《化度碑》规模一出《黄庭》,至奇古处,乃隶

书一变”，清人郭尚先评《九成宫醴泉铭》云：“《醴泉铭》高华浑朴,法方笔圆,此汉之分隶、魏晋之楷合并酝酿而成者”,“为翰墨之冠”。

除此之外，江波先生在再考《皇甫诞碑》书碑年代-兼论欧阳询楷书风格演变中认为欧楷取法兼容南北：“大业七年《姚辨墓志》虽为后人翻刻，精神或有不逮，而体势尚存，已可见欧书风格。其宽展停匀的结构方式和雅劲的用笔方法均明显可见《黄庭经》等影响，然相较于《黄庭经》之圆融、遒润、虚和，《姚辨墓志》趋于方峻、硬挺、笃实，又见北派书法以力相胜的特征。可知欧阳询其时兼融南北的取法方向。”通过一些历史文献的记载以及今人对资料的整合分析，欧阳询书法熔铸汉隶以及魏晋楷书的特点,创建了自己的独特书风，这也就成了一种共识。

欧楷是魏晋六朝北碑南帖在唐第一次深刻结晶，在北碑的继承方面，欧楷不论是在形态上还是笔意上，与魏碑中常见的笔画有很多相似之处，从《张黑女墓志》我们可以隐约可以看出其书体与欧阳询的字在用笔上相似的地方。清人阮元指出：“欧阳询书法方正劲挺，实是北派，试观今魏齐碑中，格法劲正者，即其派所从出。”《九成宫碑》是欧体楷书中非常有代表性的作品，此碑中的某些笔画的处理方式与魏碑具有相似性。

下面就《九成宫碑》与《张黑女墓志》中的钩画，包括竖弯钩、横钩来进行比较分析，用具体的字例来分析两碑之间的相似性，《张黑女墓志》在明代才出土，所以《九成宫碑》并非取法《张黑女墓志》，但是它们在钩画上却有相似性，可以看出《九成宫》是受了类似《张黑女墓志》的魏碑笔法的影响，也充分说明了欧阳询书法取法的广泛性。

《张黑女墓志》和《九成宫碑》竖弯钩皆以方笔起笔，往左下方行笔成一个斜势，到底部用笔较轻，笔画较细；图中的“光”字，两碑中都是末端加重，虽然收笔的方向不同，《张黑女墓志》偏左，《九成宫碑》偏右，但是整体的感觉相同，都是饱满的实钩；“既”字在两碑中的行笔方向和收笔角度基本相似；通过两碑之间的相似性可以猜测欧体学习过类似《张黑女墓志》的魏碑笔法，正如朱关田先生认为欧书“综合六朝精华，融为杨隋书品”。

在两碑中，横钩相对于竖弯钩相似度更高，“帝”字横画和钩画粗细变化明显，顿笔角度相似，在钩的地方形成一个方角，收笔方向基本相同。《张黑女墓志》在笔画上以方折笔法完成,其基本运笔最突出的特点是骨力峻拔,有如截铁。欧阳询《九成宫碑》看中其骨力特点,变方折为略含柔和的三角折,一方面保存了骨力,另一方面又增加了“神气冲和为妙”的轻灵意味。

欧体楷书笔法的形成与变化

《新唐书·欧阳询传》说：“欧阳询初效王羲之书，后险劲过之，因自名其体。欧氏旁涉博取，熔铸汉魏北朝书体，加以险峭之势，为南北朝书风汇合、创变之集大成者。”通过以上分析，可以知道，欧阳询的书法的涉猎非常的广泛，既获取了北碑的硬朗、空灵、笃实又吸收了二王的空灵典雅，形成了自己刚劲、典雅的特点。

以《化度寺碑》、《九成宫碑》、《虞恭公碑》、《皇甫诞碑》作为研究对象，根据立碑的先后顺序，从形态上、美感上进行比较分析，来探求欧体楷书笔法的形成与变化。

形态比较分析

从横画的起笔上来看，《化度寺碑》藏锋起笔，厚重笃实，用笔较重，较为凝重、沉着、硬朗，从欧阳询取法可知他受北派书风的影响，又是由隋入唐的书法家，在书写《化度寺碑》时还保留着浓重的隶书笔意，如图中“一”字的起笔方式以及整体的姿态都与之后的碑帖有所不同，到《九成宫碑》、《虞恭公碑》、《皇甫诞碑》方切露峰起笔，厚重、曲折的隶书笔意在《化度寺碑》的基础上不断的弱化，逐渐变得轻灵、痛快、通透，越来越轻便，书写感越来越强。

从《化度寺碑》→《九成宫碑》→《虞恭公碑》→《皇甫诞碑》，竖画起笔由藏锋、偏圆逐渐演变成稍见露峰、偏方，再演变成完全露锋行笔，《化度寺碑》隶书笔意较浓，字形偏扁，从《九成宫碑》开始，在方、峻、硬的基础上，逐渐强化纵向用笔，也就是说逐渐改变了其隶书笔意。《虞恭公碑》改变了《化度寺碑》和《九成宫碑》横画的硬挺，而变得具有流动的韵律，使得欧体特点越来越明显，直到《皇甫诞碑》也是一直在延续这种横画右肩稍向上抬起，更显险劲。从图表中的“十”字的写法的逐步变化可以感受到整体态势的一种变化。

《化度寺碑》、《九成宫碑》中的三点水比较厚实圆润，《虞恭公碑》、《皇甫诞碑》中的“三点水”分别写成了撇点、竖点和提，提按顿挫并用，颇为生动严谨。《化度寺碑》、《虞恭公碑》就是《九成宫碑》、《皇甫诞碑》的一个铺垫。《承晋斋积闻录》云“《化度》、《九成》二碑，犹是学王书，转折皆圆。至《皇甫》则脱尽右军蹊径，全是自己面目。”从上表中的“门”字可以看出在《化度寺碑》和《九成宫碑》中转折皆以圆转，发展到《虞恭公碑》、《皇甫诞碑》时，转折处逐渐变方，将横画收笔埋藏于竖画起笔中，看上去更加干练，渐渐弱化了魏碑中转折的厚重感。

“竖弯钩” 的用笔与其他楷体有不同之处，多用提转法，收笔保持了“隶书”笔意，从上一节《张黑女墓志》和《九成宫碑》之间的比较我们就所有了解，如下图中《化度寺碑》中的“也”和《九成宫碑》中的“九”字的竖弯钩都有燕尾的余韵，而《虞恭公碑》和《皇甫诞碑》这也是欧书用笔在发生变化的地方，而直钩多用挫法，出钩较短，如下图表中的“门”字的写法；《化度寺碑》和《九成宫碑》是欧阳询成熟期的作品，特点是以静以和，体势上倾向于内擫，《虞恭公碑》和《皇甫诞碑》是他升华期的作品，以动以险《虞恭公碑》，体势上倾向于外拓。

在二王和北派的基础上，欧体楷书逐渐形成了戈戟森然的特点，在起笔、收笔和转折处常常是露锋和棱角，给人一种刻厉峻险、骨力雄强的风格。

美感比较分析

《化度寺碑》和《九成宫碑》是属于欧阳询成熟期的作品，在方、峻、硬的基础上易方为长，主要强化纵向用笔的峻厚，体势上倾向于内擫。通过图表分析，可以看到《化度寺碑》比较紧敛、停匀，显得遒润而雅劲；相比而言，《九成宫碑》稍加宽展，以收济放，显得刚健而沉厚。此二碑是同一时期的作品，欧阳询书法用笔结构的基本特征在这一时期已经基本形成。欧阳询在《传授决》中所云“四面停均，八边具备；短长合度，粗细折中”，这种中正、停匀、平和的思想在《化度》和《九成》中得到了很好的阐释。清郭尚先先生在《芳坚馆题跋》以“《醴泉铭》高华浑朴，法方笔圆”，清梁巘在《评书帖》中以“其险也劲而稳”来评价《九成宫》。

《化度寺碑》、《九成宫碑》是欧阳询成熟期的代表作品，而《虞恭公碑》和《皇甫诞碑》在前面二碑的基础上又得到了升华。《虞恭公碑》在《九成宫碑》的基础上进一步强化内擫的态势，在用笔上弧势增强，从上表中的“十”的书写来看，《虞恭公碑》改变了《九成宫碑》横画的硬挺拗劲，变得更具流动的的韵律，可以得知，《虞恭公碑》用笔弧度增强，改能凸显出作者书写过程中的心情。

《皇甫诞碑》又在《虞恭公碑》的基础上再次进行大胆的艺术夸张，加剧字形结构的纵长、向右上昂举之势，如图中的“义”字给人造成重心不稳的错觉。另外，强化错落、收放使得动态百出；用笔险劲快利，气魄摄人。正如明王世贞云“率更书皇甫府君碑，比之诸贴尤为险劲”。

约而言之，《化度寺碑》、《九成宫碑》、《虞恭公碑》、《皇甫诞碑》都是欧阳询书法的典范，在不同的阶段各具特色，在成熟期以静以和，在升华期以动以险，而《化度寺碑》、《虞恭公碑》分别为《九成宫碑》、《皇甫诞碑》蓄势，由备法而达情，不断变化取舍，足以看出欧阳询在他一生中对书法艺术认识的升华。

欧体楷书笔法的传承与影响

欧阳询的书法，在唐初影响就非常大，《旧唐书》称“询笔力险劲，为一时之绝，人得其尺牍文字，咸以为楷模焉。高丽甚重其书，尝遣使求之。高祖叹曰：‘不意询之书名，远播夷狄，笔观其迹，固谓其形魁梧！’”

欧阳询书法笔法主要传授给其子欧阳通。欧阳询在欧阳通还很小的时候就去世了，其书法笔法主要是欧阳通的母亲徐氏教授的。欧阳通的楷书比其父写得更加瘦硬劲挺，特别是在横画主笔收笔处富有十分浓重的隶意，古韵十足；刘熙载《书概》谓：“大小欧阳书，并出分隶，观兰台道因碑有批法，则显然隶笔矣。”欧阳通的楷书学到了其父亲书法的精髓，虽然没有超过其父亲的名声，但是功力也是相当深厚的。

欧阳通传世的作品有两件，一件是《道因法师碑》，《道因法师碑》书法笔力遒健，险峻瘦怯，但锋芒棱角太露，这既促成了欧阳通书法的鲜明特色，也带来了其另一方面的局限，即“少含蓄之趣”（杨士奇）。清何绍基称此碑“险劲横铁，往生育突过乃翁”；另外一件就是《泉男生墓志》，该志小楷笔力遒劲流畅，点画工整精妙，从他的作品中可以看出《九成宫醴泉铭》、《化度寺碑》的用笔方法，可谓深得自家风骨。宋代书法家朱长文在《续书断》中曰：“虽得欧阳询之劲锐，而意态不及也；然亦可以臻妙品矣。”

另唐人卢携在《临池妙诀》中曰：“吴郡张旭言,自智永禅师过江,楷法随渡。永禅师乃羲献之孙,得其家法,以授虞世南,虞传陆柬之,陆传子彦远,彦远仆之堂舅,以授余。不然,何以知古人之词云尔。携按：永禅师从侄纂及孙涣皆善书,能继世。张怀灌《书断》称上官仪师法虞公,过于纂矣。张志逊又纂之亚。是则非独专于陆也。王叔明《书后品》又云虞、褚同师于史陵。陵盖隋人也。旭之传法,盖多其人,若韩太傅泥、徐吏部浩、颜鲁公真卿、魏仲犀。又传蒋陆及从侄野奴二人。予所知者,又传清河崔邀,邀传褚长文、韩方明。徐吏部传之皇甫阅。阅以

柳宗元员外为入室,刘尚书禹锡为及门者,言柳公常未许为伍。柳传方少卿直温,近代贺拔员外惎、寇司马璋、李中垂戎,与方皆得名者。盖书非口传手授而云能知,未之见也。”

此段文字对唐代笔法谱系传承做了详细描述，此描述也是所有笔法谱系传承中比较可信的观点，可以概括为：智永-虞世南-陆柬之-陆彦远-张旭，但却意外的漏掉了欧阳询这样一个重要人物，欧阳询作为初唐最有代表性的书法家，这点显然有点不合常理，但是在张彦远、宋长文等人所列的谱系中都有欧阳询的一席之地。

张彦远《法书要录》卷一《传授笔法人名》曰：“智永传之虞世南，世南传之欧阳询，询传之陆柬之，柬之传之侄彦远，彦远传之张旭，旭传之李阳冰，阳冰传之徐浩、颜真卿、邬彤、崔邈，凡二十有三人。”此条传承路线可概括为：

智永-虞世南-欧阳询-陆柬之-陆彦远-张旭，欧阳询与虞世南岁数相仿，虞世南与欧阳询应该是不存在先后顺序，当然我这里最主要的是分析欧阳询楷书的传承与影响，我们可以看到欧阳询传承给了陆柬之和陆彦远父子，然后传之张旭。又宋长文《墨池编》卷一的《古今传授笔法》曰：“智永传虞世南，世南传欧阳询，欧阳询传张长史，长史传李阳冰，阳冰传徐浩，徐浩传颜真卿，真卿传邬彤，邬彤传韦玩，韦玩传崔邈。”

宋长史在张彦远的基础上直接省略了陆柬之、陆彦远，而是说欧阳询直接传之张长史，即智永-虞世南-欧阳询-张旭，宋长文的说法可能是觉得欧阳询没有传给陆氏父子而是直接传之张旭，也可能是欧阳询名声更胜陆氏父子。除此之外，我们还能通过欧阳询-张旭这条线索分析出另外一条路线。

褚遂良笔法对张旭有很大影响：“曾见小楷《乐毅》，虞、褚之流”。朱关田先生在《中国书法史隋唐五代卷》中说：“（褚遂良）早期楷书多具隶笔，与欧阳询同调，并出自章草，或当受欧阳询的影响。”元郑杓《衍极》曰：“旭又得褚遂良余论”。我们由此可以分析出欧阳询笔法除了传之于其子欧阳通之外，还有一位更重要的人就是褚遂良。褚遂良的父亲褚亮与欧阳询同朝为官，而且关系非常要好，当时的褚遂良正是志学之年，十五六岁，所以笔法学习欧阳询是情理之中的。褚遂良晚年楷书用笔在欧虞的基础上多见二王行法，其笔法与欧阳询一致，都是南北交融的结果。

种种迹象都能表明褚遂良受欧阳询笔法影响。正是因为受到欧阳询的教诲，使得褚遂良能与欧虞并称，薛曜、薛稷、钟绍京、魏栖梧乃至盛唐颜真卿、晚唐柳公权都学褚遂良，可见他的影响之广。通过《九成宫碑》和《雁塔圣教序》的比较，也能看出他们之间的传承关系。欧阳询相比于褚遂良更重用笔和结体，楷书技法难度非常之大，所以后人评价欧楷将楷书技法难度发挥到极致，达到空前绝后的程度；另一方它确定了楷书用笔与结体的规范书写，并且使楷书规律化、程式化。

通过以上的分析，不论是陆彦远传之张旭，还是欧阳询传之褚遂良，然后褚遂良传之张旭，最后都是归结于张旭身上，然后通过张旭得弘道布法得以广而大之，传于徐浩、颜真卿，对晚唐五代以致后世都产生了深远的影响。

taking method of European regular script < / P > < P style =" margin: 0px 0px 0.75em; padding: 0px; outline: 0px; max-width: 100%; clear: both; min-height: 1em; color: rgb(34, 34, 34); font-family: -apple-system, BlinkMacSystemFont, " Helvetica Neue", & quot; PingFang SC", & quot; Hiragino Sans GB", & quot; Microsoft YaHei UI", & quot; Microsoft YaHei", Arial, sans-serif; letter-spacing: 0.544px; text-align: justify; background-color: rgb(255, 255, 255); overflow-y: auto; line-height: 1.75em; visibility: visible; box-sizing: border-box ! important; overflow-wrap: break-word ! important; "> as for Ouyang Xun's teaching method, the old Tang Dynasty Book Ouyang Xun biography said:" after learning Wang Xizhi's book for the first time, it gradually changes its body, and its writing power is dangerous and powerful, which is unique for a time. " "The book of the new Tang Dynasty · Ouyang inquiry biography" said: "the inquiry first followed Wang Xizhi's book, and then it was dangerous and vigorous. Because it was named after its body and redeemed by the ruler, people thought it was the law." From the records of the old and new Tang books, Ouyang Xun's calligraphy began to learn from Wang Xizhi at first, and then slowly formed its own style. Wang Xizhi's calligraphy influenced many calligraphers in Sui and Tang Dynasties and later generations. Wang Xizhi's view of Ouyang's inquiry should be reasonable. In addition to Wang Xizhi's view, there is also Wang Xianzhi's view. Zhang Huaixiang's "shuduan" said: "the book of true deeds, although in the great order, is also different into one."

according to the records of song sengshi's golden pot, Ouyang Xun saw the" guide map of the right army's religious offering "and was so happy that he couldn't sleep, so he began to copy the" guide map of the right army's religious offering " Although Zhang Yanyuan thought it was a fake, it may show that the person who entrusted Wang Shu is at least similar to Wang Shu's calligraphy style, and Wang Xianzhi, as the son of Wang Xizhi, although there are changes, is actually a department. Therefore, Ouyang inquired about the two kings of the law and should have no objection. Dou Peng believes that Ouyang Xun's calligraphy is based on Liu Min of the Northern Qi Dynasty. Dou Peng's "shushufu" says: "if it comes from Sangong, how can Ouyang be in the face of a family. Regardless of the ugliness, he shrinks and corrects the owl, such as Huarong across the ground and different houses." And Li Fang's "different usurpation of national history" quoted in volume 208 of "Taiping Guangji" said: "when I travel, I see the ancient monument Suo Jing's book, stop and watch it for a long time. After a few steps, I get off my horse and stand. When I am tired, I will sit and watch with a blanket. Because I stay near it, I will go after three days."

to sum up, in addition to learning from the two kings, Ouyang also learned from Liu Min of the Northern Qi Dynasty and Suo Jing, and finally formed his unique style of" fierce halberd "and steep and sharp. Mr. Zhu guantian believes that on the basis of comprehensive historical records "Ouyang inquired about his initial study of Liang and chenshifeng, and obtained the secret of making him show his frown. He returned to Liu Min of the Northern Qi Dynasty, and his brush was thin and straight. Later, he studied Zhang Cao and understood the three flavors of Suo Jing's pen. Finally, he integrated the essence of the Six Dynasties into Yang Sui's books."

although Liu Min of the Northern Qi Dynasty has no calligraphy traces left, he can understand the basic situation through some historical records. For example, the Xuanhe calligraphy manual says:" calligraphy has been steeped in decline since Wang Xi and his father and son were offered, especially in Qi. Min is good at grass and Li (truth), so he can wash the fallacies of popular learning and pursue Xi Zhi far, so he can get his method. The best place to write is often the ancient people. " It can be seen from the "far pursuit of Xizhi, quite get its method" that Liu Min's calligraphy has learned Wang Shu on the basis of the northern calligraphy style, so it will be compatible with the north and south, and Ouyang inquired about the meaning of "Geji strict" is the remaining trend of the northern calligraphy style, so there is some reason to adopt Liu Min's calligraphy. Guo Zongchang believes that "the regular script method of Shugeng originates from the ancient scribes, so it has broad-minded character and unique structure, ranking first in the regular script of Tang Dynasty", P: height, P: Max; P: height, 34; P: height ; font-family: -apple-system, BlinkMacSystemFont, " Helvetica Neue", & quot; PingFang SC", & quot; Hiragino Sans GB", & quot; Microsoft YaHei UI", & quot; Microsoft YaHei", Arial, sans-serif; letter-spacing: 0.544px; text-align: justify; background-color: rgb(255, 255, 255); overflow-y: auto; line-height: 1.75em; box-sizing: border-box ! important; overflow-wrap: break-word ! important; "> as soon as the book changes", Guo Shangxian of the Qing Dynasty commented on the inscription on Liquan in the Jiucheng palace, saying: "the inscription on Liquan is high and simple, and the French square pen is round. It was formed by the merger of the official script of the Han Dynasty and the regular script of the Wei and Jin Dynasties", "it is the crown of calligraphy." < / P > < P style = "margin: 0px 0px 0.75em; padding: 0px; outline: 0px; max-width: 100%; clear: both; min-height: 1em; color: rgb(34, 34, 34); font-family: -apple-system, BlinkMacSystemFont, " Helvetica Neue", & quot; PingFang SC", & quot; Hiragino Sans GB", & quot; Microsoft YaHei UI", & quot; Microsoft YaHei", Arial, sans-serif; letter-spacing: 0.544px; text-align: justify; background-color: rgb(255, 255, 255); overflow-y: auto; line-height: 1.75em; box-sizing: border-box ! important; overflow-wrap: break-word ! important; "> in addition, Mr. Jiang Bo thought that the regular script style of Ouyang Xun was compatible with the north and the south in his re examination of the era of the tablet of Huangfu's birthday - also on the evolution of Ouyang Xun's regular script style:" although the epitaph of Yao Bian in the seventh year of Daye was engraved by later generations, the spirit may not catch, but the body still exists, which can be seen in the European script style. Its wide and uniform structure and elegant writing method can be seen in the influence of Huangting classic, but compared with Huangting classic The epitaph of Yao Bian tends to be square, rigid and solid. It also shows the characteristics of the northern school calligraphy. It can be seen that Ouyang inquired about the direction of taking the method of integrating the north and the south at that time. " Through the records of some historical documents and the integration and analysis of materials by modern people, ouyangxun's calligraphy has created its own unique style of calligraphy by fusing the characteristics of Han Li and Wei Jin regular script, which has become a consensus

Oukai is the first profound crystallization of the southern calligraphy of the northern stele of the Wei, Jin and Six Dynasties in the Tang Dynasty. In terms of the inheritance of the northern stele, Oukai has many similarities with the common strokes in the Wei stele in terms of form and brushwork. From the epitaph of Zhang heinv, we can vaguely see that its calligraphy is similar to Ouyang Xun's words in brushwork. Ruan Yuan of the Qing Dynasty pointed out: "Ouyang Xun's calligraphy is square and vigorous, which is actually the northern school. Try to observe the stele of Wei and Qi. The one with strong grid method is the one from which his school comes." "Jiucheng palace tablet" is a very representative work in European regular script. The treatment of some strokes in this tablet is similar to that of the Wei tablet

the following is a comparative analysis of the hook paintings in Jiucheng palace stele and Zhang heinv's epitaph, including vertical hook and horizontal hook. The similarity between the two steles is analyzed with specific word examples. Zhang heinv's epitaph was unearthed only in the Ming Dynasty, so Jiucheng palace stele is not based on Zhang heinv's epitaph, but they have similarities in hook paintings. It can be seen that Jiucheng palace is influenced by similar epitaphs of Zhang heinv The influence of the writing method of Wei stele also fully shows the universality of Ouyang Xun's calligraphy method

" Zhang heinv's epitaph "and" Jiucheng palace stele "use square pen to start the vertical hook, and line the pen to the lower left to form an oblique trend. The pen at the bottom is light and the stroke is thin;