It is characterized by rigor, neatness, fairness and vitality. Although its glyph is a little longer, it is white, neat and rigorous, with tight middle palace, elongated main pen, bold and unrestrained density, surrounded on all sides, exquisite and vivid, just right; The combination of stippling and painting, the structural arrangement, is that the middle of the plane is steep and powerful, and the fonts extend to the right, but the center of gravity is still very stable, without the feeling of inclination, which is interesting and dangerous.

Ou Yangxun's calligraphy, Han Li's vigorous, two kings' natural and unrestrained, and the simplicity of the Six Dynasties' inscriptions have been widely adopted by various schools, creating a generation of romantic style. In the coordination and structural arrangement of stippling, it is plain and powerful, and the fonts are mostly spread to the right, but the center of gravity has no sense of deviation.

Ou Yangxun said.

Ou Yangxun was proficient in calligraphy, and he was called "the four great masters in the early Tang Dynasty" with Yu Shinan, Chu Suiliang and Xue Qi. Because his son Ouyang Tong is good at calligraphy, the father and son are called "Big Europe".

Calligraphy is in danger in Pingzhong, nicknamed "European style". Masterpieces: Regular script includes Jiuchenggong Li Quanming, Huangfu Birthday Monument, Huadu Temple Monument, and running script includes Zhong Nimeng's stickers and thousands of characters.

Ou Yangxun has his own unique views on calligraphy, including eight methods of calligraphy works, teaching strategies, pen theory and thirty-six methods. His works such as Inscription on Buddhist Pagoda of Huadu Temple, Inscription on Yu Gong Wen Yan Bo and Inscription on Huangfushengchen are called "the first regular script in Tang Dynasty".