Ou-Yang Hsiu

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Ou-Yang Hsiu


(second name, Yung-shu). Born 1007 in Luling (present-day Chi-an, Kiangsi Province); died 1072. Chinese writer. Representative of classical prose and one of the “eight great masters of the T’ang and Sung dynasties” (seventh through 13th centuries).

Ou-yang Hsiu held high government posts. He attacked the formalistic “parallel style” then dominating prose and urged writers to learn clarity and pithiness by studying the ancient classics. Ou-yang wrote in virtually all the genres of “high literature”: historical, didactic, descriptive, and philosophic prose, in addition to poetry (the fu, shih, tzu, and other genres). He invented the genre of the shih-hua (judgments on poetry), which later became popular. Ou-yang also wrote the poem of keen social criticism “On Those Who Eat Distillery Refuse.” His prose miniatures “The Tipsy Elder’s Pavilion” and “Funeral Speech on Shih Man-ch’ing” and the fu “Voice of Autumn” have become anthology pieces.

Ou-yang Hsiu’s laconic, clear, and exceptionally refined style is considered a model of its kind. He was one of the compilers of the New History of the Tang Dynasty and the compiler of the Historical Notes on the Five Dynasties. In the latter, he advanced the principles of the historical legality and ethical nature of political power, treating theses aspects of political power in a feudalistic-Confucian spirit. Ou-yang Hsiu also wrote A Collection of Ancient Inscriptions With Explanations Thereof, which contains transcriptions of and commentaries on hundreds of inscriptions engraved in metal and stone during the course of two millennia on vessels, bells, walls, and gravestones and in palaces and temples.


Ou-yang Yung-shu chi, vols. 1–3. Shanghai, 1958.
In Russian translation:
In Kitaiskaia klassicheskaia proza, 2nd ed. Moscow, 1959.
Poeziia epokhi Sung. Moscow, 1959.


Chung-kuo wen-hsüeh shih, vol. 3. Peking, 1964.


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References in periodicals archive ?
Ouyang Xiu inserted Li Chao as Li Bian's great-grandfather into a consequently continuous line of forebears which linked the Southern Tang ruler directly to Tang emperor Xianzong.
Reflected is the point of view in what the Northern Song Dynasty writer Ouyang Xiu remarked in his book of critiquing calligraphy.
Wang Maolin led the effort to restore Pingshan Hall, a site associated with the Song literatus Ouyang Xiu, who was nota native of Yangzhou but had served there, and the Hall served to tie Ouyang's literary reputation to this particular site.
Steles and stele rubbings were collected long before 1063, the date when Ouyang Xiu (1007-72) circulated his Jigu lu (Record of Collecting Antiquities), an annotated collection of stone inscriptions that he had gathered over several decades.
Neither points out, for instance, that Daini's conception of the ideal unitary government of ancient times and the later decline of civilization due to the splitting of this original unity -- the split between coercion (bu) and the rites (bun) wherein the former is no longer subordinated to the latter -- was already fully laid out in the Song dynasty writings of Ouyang Xiu (sec Xin Tangshu ch.
It is indeed a sober charge Wang has left for posterity, and he joins Ouyang Xiu, Liu Chang, and other serious Confucians in giving us this command, tinged as it is with three mentions of "Regret" (hui [TEXT NOT REPRODUCIBLE IN ASCII]).
She achieves this by re-constructing the ideological and artistic discourse of Northern Song scholars associated with the conservative faction, most notably Ouyang Xiu (1007-72) and Su Shi (1037-1101), who saw in the calligraphy of the martyred Tang dynasty statesman Yan Zhenqing (709-85) a visual embodiment of values with which they hoped to associate themselves.
The present paper takes some of these accounts as a point of departure for an examination of this issue, its background, and related matters, giving special focus to the work of Ouyang Xiu.
Paying particular attention to the views of Ouyang Xiu, Su Shi, and Huang Tingjian (all prominent eleventh-century figures), Sturman shows how calligraphers in the Northern Song struggled with the issue of finding proper models in the face of a perceived decline in calligraphic standards associated with the late Tang, while simultaneously examining the place of personal expression in calligraphy.
For example, he does not give Ouyang Xiu credit for his role, and indeed Ouyang Xiu appears in neither the index nor the bibliography.
Ouyang Xiu (1007-72) is invariably given credit for initiating the study of epigraphy in China, due to the popularity of his Jigulu, the collection of colophons he wrote on the ink-rubbings he began collecting around 1045.
Su's first models for exploring these thoughts in verse were experimenters such as Mei Yaochen, Ouyang Xiu, and Su Shunqin, but from the beginning his approach showed an individual streak that fit no mold.