Simple excerpt:
Han Li
The collective name for the official script of the Han Dynasty. Because the official scripts on stele inscriptions of the Eastern Han Dynasty are vivid and diverse in style, while the official scripts of the Tang Dynasty have mostly stereotyped characters, they are called "Tang Li". Therefore, those who learn to write official scripts attach great importance to the stele inscriptions of the Eastern Han Dynasty, and call the various styles of official scripts in this period "official scripts". "Han Li" is different from "Tang Li".
Attached is the Chinese Online Dictionary:
Han Li:
hàn lì
1. The official script popular in the Han Dynasty. 2. Refers to the subordinate officials of the Han Dynasty.
Han Dian:
(4) That is, Lishu (one of the eight styles of Qin Shu. Also known as "Eight Parts". It is said to have been written by Cheng Miao of Qin Dynasty, and was changed from Xiaozhuan Provincial Slips Made) [official script,an ancient style of calligraphy current in the Han Dynasty]. Such as: Li Jue (a master who is good at writing official script); Li Xi (practice, drill); Li Zhuan (official script and small seal script)
In addition, there is a lot of content in this, if you like it, just read it, quoted from:
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Discussing some issues about Li Bafen from the name of the wooden tablet in Yinwan Han Tomb
Overview Chronological data, first of all, we can divide Qin and Han official scripts from a macro perspective into three forms: ancient official script, Han official script and Bafen form:
① Ancient official script
Arrange the data as above You see, the popularity of ancient Li was from about 309 BC to 111 BC, that is, from the period of King Wu of Qin to the late period of Emperor Wu of Han. This is just a rough breakdown. In fact, the ancient official script has existed for a long time. The Prime Minister's Censor's Code of Laws and Orders in 52 BC (Han 24) is still in the ancient official script. The ancient Li includes seventeen batches of materials, namely Qin 1-7, Han 1-9, and Han 24. The characteristics of the ancient official script are: the vertical position is vertical, the horizontal direction is not flat, and the vertical direction is not straight.
②Han Li
Broadly speaking, all official scripts in the Han Dynasty are Han Li, including ancient Li, Han Li (Han Li in the narrow sense) and Bafenshu in the early Han Dynasty. Han Li in the narrow sense refers to the official script style most widely used in the Western Han Dynasty. The Wufeng Yuan Nian Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Slips (Han 22) and Dingxian Han Bamboo Blips (Han 23) are its mature forms. Han Li is more standardized than ancient Li, but not as decorative as Ba Fen. It was the common calligraphy style from the Western Han Dynasty to the end of Han Dynasty. Judging from the chronological data, Han Li includes 21 batches of data, namely Han 10-23, Han 25-27, Han 29, Han 31, and Han 33-34. The characteristics of Han Li are: horizontal posture, prominent horizontal strokes, horizontal and vertical lines. Its structural type is similar to the flat-painted wide-knot type summarized by Mr. Sha Menghai.
③Eight points
In the chronicle materials, the Yinwan Mingye wooden slip is a new form that is different from the ancient Li and Han Li. Similar in form are the first year seal of Yangshuo in Juyan (Han 28) and the first year seal of Tianfeng, the founding state of Dunhuang (Han 32). What is interesting is that these three batches of information are all written on wooden tablets. This may not be a coincidence. From the morphological point of view, there is no doubt that the Yinwan Mingye wooden slip should be in the Bafen script (except for the reverse side of the wooden slip No. 18, which is Han Li). Bafen is an artistic calligraphy style in the official script. The characteristics of the eight-point book are: taking the trend of distribution from left to right, highlighting the picking and suppressing paintings. Its structural type is similar to the obliquely drawn tight knot type summarized by Mr. Sha Menghai.
Secondly, through the comparison of the above 41 batches of materials, we can also find:
① The period of Emperor Wu of the Han Dynasty was a turning point in the development of official script. At this time, official script changed from the ancient official stage to the Han official script. Stage transition. By the time of Emperor Xuan of the Han Dynasty, Han Li was fully mature, and the Wufeng First Year Slips (Han 22) and Dingxian Bamboo Slips (Han 23) are its typical forms.
② Around the time of Emperor Cheng of the Han Dynasty in Yangshuo, a new style of official script emerged - Bafen. Among the Yinwan Mingye wooden tablets from the late Western Han Dynasty, eight points are quite mature, but in our chronological data, eight points still appear in small quantities in wider wooden tablets. We believe that Bafen was formed in the late Western Han Dynasty, but it was not the mainstream form of official script. Later, Bafenshu became widely popular in the Eastern Han Dynasty.
③ Han Li and Bafen are two forms of official script (which can also represent two stages). These two forms existed for a long time from their formation in the late Western Han Dynasty to the end of the Han Dynasty. In the Eastern Han Dynasty, Han Li was still widely used and did not completely replace Han Li due to the popularity of Bafen. The most obvious examples are the "Zhang Qian Stele" written in 186 AD and the "Cao Quan Stele" written in 185 AD. . The former is Han Li, and the latter is Bafen.
Although Hanli and Bafen are two brushwork systems, they have coexisted for a long time. The author believes that Hanli is the source of the wide-knot structure type of flat painting, and the source of the tight-knot structure type of oblique painting of Bafen. (Details later)
4. Microscopic examination of the Yinwan Mingye wooden slip
Above, we have macroscopically examined the Yinwan Mingye wooden slip in the evolution and development of official script. Position, and the official script is divided into three forms or stages: ancient official script, Han official script and Bafen script. Below we make some comparisons between the typical eight-point script characters "Eastern Han Dynasty Taishou" (Picture 11) and "Chang'an Order" (Picture 12) on the Yinwan Mingye wooden slip with the glyphs in other unearthed materials.[6] From a microscopic perspective, we will examine how the stipple drawing of specific character shapes developed from ancient Li to Han Li to Bafenshu.
①Dong: The shape of the character "东" in "Sun Tzu's Art of War" is similar to seal script, with the last stroke meaning to hold back, and the whole character is in a vertical position; "东" has been drawn horizontally in "Juyan Han Bamboo Slips" It is straight, with the middle part of the garden being transformed into a square shape, and the entire character has been taken in a horizontal form with four horizontal lines, which play a dominant role in the character; the character "东" is in the Yinwan Mingye wooden tablet, and the four horizontal lines are intentionally shortened. Exaggerated pick-up and hold-down paintings, symmetrical left and right, like a figure of eight.
②Hai: The word "sea" is in the vertical position in both Chapter A and Chapter B of "Laozi", and the main characters in the middle basically extend to the lower right; the word "sea" in "Xiangma Jing" The main strokes of the character are basically horizontal, but the structure is still vertical; the character "海" is clearly horizontal in the Western Border Slips. There are six strokes in the character that are almost horizontal and all point to the right. The entire character has a direction. The feeling of floating on the right; the word "海" is in the wooden slip of Yinwan's name. The horizontal painting in the middle has been the obvious main stroke. Although the word "海" does not have a prominent painting, the horizontal painting and the three points of water on the right form a left-right symmetrical relationship. The whole word looks very stable.
③Tai: The character "Tai" has lost its seal meaning in "Tianwen Zazhan", but the left stroke has not yet formed a pick painting; "Tai" is picked in Liusha Han Bamboo Slips and Dingxian Han Slips The suppression is already obvious; "Tai" is further exaggerated and challenged in the wooden slip of Yinwan's famous visit, weakening the horizontal painting.
④Shou: "Shou" takes the vertical position in "Sleeping Tiger Land Qin Slips", and has a slight seal character meaning; "Shou" takes the oblique position in Chapter A of "Laozi" and "Zongheng Jia Shu" "Shou" in "The Art of War" is basically horizontal and vertical, but the whole character is in a rectangular shape, which highlights the stroke; the character "Shou" in the A of "Juyan Han Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Bamboo Slips" has obviously taken a horizontal position, strengthening the horizontal strokes. The font is flat and square; the horizontal strokes in the "Shou" Yinwan Mingye wooden tablet are weakened and the outlines are exaggerated.
⑤Chang: The character "Chang" appears in Chapter A of "Laozi", Fenghuangshan Han Bamboo Bamboo Bamboo Slips and "Sun Bin's Art of War". The lower right side is drawn out in a long way; in Dingxian Han bamboo slips and Wuwei "Yili" bamboo slips, the character "长" is written vertically on the lower left corner; in the wooden slip of Yinwan's name, the character "长" is written vertically on the lower left corner. The intention is to tilt down to the left, symmetrical with the long strokes on the right, to stabilize the center of gravity of the entire character.
⑥An: "An" has a seal meaning in both "Xiangma Jing" and "Sun Bin's Art of War". It takes a vertical or oblique position, and the strokes extend to the lower right or downwards; "Ju Yanhan" In both the "Slips" and Dingxian Han Slips, the word "an" is in a horizontal position, with the horizontal stroke as the main stroke, pointing to the right; the word "an" in the wooden slip of Yinwan Mingye is provocative and exaggerated, and symmetrical.
⑦ Ling: The character "Ling" is vertical in the Yunmeng Longgang bamboo slips, and the last stroke is toward the lower right; the character "Ling" is vertical in the Zhangjiashan Han bamboo slips, and the last stroke is toward The bottom left is drawn out long; the seal meaning of the character "Ling" in "Fifty-two Prescriptions for Diseases" is stronger, and the last stroke is vertically downward; the last stroke of "Ling" in "Shiyu of the Spring and Autumn Period" and "Sun Bin's Art of War" is shortened , the whole character is still basically in a vertical position; the character "Ling" in "Juyan Han Bamboo Slips" has obviously taken a horizontal position, and the last stroke is reduced to a dot; the character "Ling" in the wooden slip of Yinwan Mingye condenses the middle part, exaggerating and protruding Na, fly left and right.
Through the above-mentioned analysis of typical glyphs, combined with the strokes of specific glyphs in the chronological data, we can further understand:
① The ancient official script was carved with the scribe (engraved by the official) (copper, carved stone, etc.) to transform the "ornamented strip lines" of the seal script (which Mr. Cong Wenjun calls "quasi-imitation lines")[7], change the vertical character style of the seal script, and strive to highlight the horizontal lines. The paintings follow the shape of the characters and vary in size. Generally, the characters are longer in shape. Most of the horizontal paintings of ancient officials are uneven. Some horizontal paintings tilt downward seriously, such as Yunmeng Longgang bamboo slips (Qin 6); some horizontal paintings tilt upward to the right, such as Zhangjiashan Han bamboo slips (Han 4). The evolution process of ancient official horizontal paintings can be roughly summarized as follows: fewer horizontal paintings ["Xiao Lv" (Qin 2)] - more horizontal paintings ["Yushu" (Qin 4)] - parallel horizontal paintings juxtaposed [" "Laozi" Yi version (Han 5)].
The vertical paintings of ancient official scripts are often transformed into thick and long pick-up paintings, which become the main strokes of the entire character. They are often used alternately with the main strokes of the upper and lower characters in the entire slip to maintain the harmony of the composition of a slip or silk calligraphy, such as Fenghuang Mountain Bamboo slips (Han 6), "Five Star Divinations" on silk (Han 5).
②The sign of the transformation from ancient Li to Han Li is the horizontal trend. The Han Li font is flat, and the pick and hold strokes expand to the left and right, rather than to the lower left or lower right like the ancient official script. For example, the pick and draw of the character "Shou" in "Juyan Han Bamboo Slips" and the Dingxian Han Slips are shown above. And the character "长" in Wuwei Han bamboo slips is painted. The most typical feature of Han Li is that it is horizontal and vertical. The horizontal painting has a wave tail but no silkworm head, so it is generally not used for lifting. The horizontal strokes of Han Li are "middle solid" [8] and sometimes slightly concave downwards, high at both ends and low in the middle.
③When the pick-and-nip strokes of the ancient official script and the horizontal strokes of the Han official script are consciously combined in one character, and attention is paid to the symmetrical distribution of the left and right sides, this marks the formation of the Bafenshu. Bafenshu is dignified and standardized, and every word is an independent and self-sufficient system. The center of gravity of Bafenshu is stable and does not need to be adjusted by upper and lower characters. The provocations of the Bafenshu are more exaggerated than those of the Han Li, and the provocations are more obvious; the horizontal strokes of the Bafenshu are developed from the Han Li, but are richer than those of the Han Li. There are three processes of starting the pen, moving the pen, and ending the pen. The so-called "Twists and turns" ("Silkworm head and wild goose tail" are its typical characteristics). The horizontal paintings of the eight-point book are "empty in the middle",[9] the horizontal paintings are often convex upward, with the middle high and the two ends low, and the silkworm's head and the wild goose's tail are symmetrical from left to right. These characteristics of the Bafenshu have not yet been fully expressed in the Yinwan Mingye wooden tablets, and are particularly obvious in the steles of the Eastern Han Dynasty. Once the Bafenshu was formed, it was deeply loved by people and was designated as the orthodox style.
5. Some issues about Bafens
1. The name of Bafenshu
There is no "Hanshu" or "Houhanshu" when checking Gu Nanyuan said that "there was no other name for it in the late Han Dynasty" [10], which is quite true. "Eight points" was first seen in history books in the "Book of Jin·Biography of Wei Heng", "Now the eight points are all promoted." There are several theories about the name and meaning of "Bafen":
① "Gu and Jin Fa Shu Yuan" quoted Cai Wenji as saying: "My father created Bafen, and Cheng Li took two out of eight points. Li Zhuan is divided into two and eight is divided into two. ② In the Tang Dynasty, Zhang Huaiguan quoted Wang Min and said: "Cizhongshi used the ancient calligraphy method Fang Guang and Shao Bo Shi to build the junior high school in official script. The square is divided into eight parts, and the words are modeled. "[12]
③ Guo Zhongshu in the Song Dynasty said: "The book has eight parts, and Cai Yong of the Han Dynasty used Li to make the eight parts. This method was born after the eight parts. , it’s called ‘eight points’, it’s close.” [13]
④ Ouyang Xiu's "Collection of Ancient Records" in the Song Dynasty pointed out that eight divisions were "Han Li" [14].
⑤Wu Qiu Yan's "Xuegubian" of the Yuan Dynasty said: "Five said: eight points, eight points, there is no challenge to the Han Li. It is easier to recognize than the Qin Li, and it is easier to recognize than the Han Li. It is slightly similar to seal script. If you make good use of seal script to write Chinese official characters, you can get it. The eight points are indistinguishable from the number of official characters, so the method is described." [15]
⑥Volume 20 of Qing Weng Fanggang's "Emperor and Stone Records of the Two Han Dynasties" "Li Ba Fen Kao" quotes Gao Fenghan's "Ba Fen Shuo": "The strokes are straight, the small seal script is still small, and the heavy ones are removed, Li is also . Adding plunder and restraint due to the subordinates is eight points." [16]
⑦Xu Bangda said: "The charter book is the words on the chapter. We can see the following copies: "He Jie Biao" written in the 24th year of Jian'an by Emperor Xian of the Han Dynasty (219 AD) and other imitations , it can be seen that the eight-point regular script should undoubtedly be this type of font." [17]
Faced with the many complicated statements mentioned above, it is impossible to sort out the clues without the support of physical data. Judging from the chronological data unearthed from official scripts, the first theory is absurd. The wooden slip of the Han Dynasty Tomb in Yinwan already contains a fairly regular eight-point script, which was written at the end of the Western Han Dynasty. Therefore, the theory that Cai Yong created the eight-point script is inconsistent with historical facts. The third statement is that "Cai Yong used Li to form the eight-part body, and this method was born after the eight-part body." This is obviously an unfounded guess. The fourth statement refers to "Han Li" as "Ba Fen". Mr. Qi Gong and Mr. Qiu Xigui also said the same. As mentioned above, this does not distinguish Han Li from Ba Fen Shu. "Han Li" and "Bafen Shu" The connotation and denotation of the two words "Bafen" are not exactly the same. Han Li can include Bafen, but Bafen cannot include Han Li in the narrow sense. This theory cannot explain the font on the Yinwan Mingye wooden slip from a morphological point of view, so this theory is not accurate enough. The fifth theory seems to be that fonts such as Han Dynasty and Jinwen are eight points, which is wrong. The seventh type is the "eight-point regular script", that is, regular script, which refers to calligraphy styles such as Zhong Yao's "He Jie Biao".
Mr. Xu believes that the charter book refers to a font such as "He Jie Biao". Regardless of whether his conclusion is correct or not, we have not seen such fonts in the unearthed official script chronicling materials, so the "eight points are divided into regular scripts" There is no physical evidence. The author believes that only Wang Min's statement and Gao Fenghan's statement are closer to the historical truth of Bafenshu. If analyzed in detail, the two statements are basically consistent. The key is how to interpret "eight points per word". The author believes that the word "square" here is a substantive word, which is the "square" of the "character square eight points" mentioned above. "The character square eight points" should be understood as "the character is square and wide, distributed to the left and right eight characters". This is the most concise and accurate summary of Bafenshu. The same is true for the excavated data. For example, the bamboo slips of the first year of Wufeng are made of horizontal strokes. The word "year" is written in five horizontal strokes, and the character "phoenix" is written in six horizontal strokes. The horizontal strokes are straight and vertical, with only a wave tail at the end of the horizontal strokes. This is exactly what Wang Min said. It is said that "ancient books are wide and powerful, and there are few waves of potential". This is not the case for the Yinwan Mingye wooden slip. For example, the character "Tai" and the character "Shi" weaken the horizontal strokes, exaggerate the protrusions and dandelions, and are symmetrically distributed on the left and right. The whole character is dignified and steady, which can be described as "eight points per square". Accurate. Its evolution process is exactly what Gao Fenghan said: "The strokes are straight, the small seal script is still small and the heavy parts are removed, which is Li. Because of Li, the grazing is added, which is eight points." Judging from the unearthed data, it is untenable to say that the size of a character is exactly eight-tenths of an ancient ruler [18]. It is impossible to tell which calligraphy style the Yinwan Mingye Wooden Slip is from even if it is said to be 80% of the ancient script. The most conspicuous thing we can see from it is the eight-character distribution of its glyphs.
2． The formation period of Bafenshu
The name "Bafen" was first seen in the "Book of Jin" in the history of books. The name "Bafen" is also found in "Guwenyuan" compiled by the Song Dynasty. Volume 17 of "Guwenyuan" contains an article titled "Wei Jinghou (Kai) Stele Yin" written by the poet Mou Zhun of Wei Dynasty, which says: "Wei's "The Great Feast and the Officials Shangzun Haozou" and "Shou Zen Biao" Wei (Kai's mistake) ) and the Golden Needle Bafen Book, [19]" If this article is true, then "Bafen" first appeared in the Wei Dynasty, and the "Bafen" book must have been formed before the Wei Dynasty. Regarding the author of Bafenshu, there are two theories: Wang Cizhong and Cai Yong. As mentioned above, Cai Yong's creation of Bafenshu is unrealistic. Calligraphy commentaries in the past dynasties believe that Cai Yong was the most accomplished calligrapher of Bafenshu in the Han Dynasty. Wang Cizhong is generally considered to be the organizer of eight points. There are three theories as to when Wang Cizhong was. One was from the time when Emperor Zhang of the Han Dynasty was founded (Wang Min said), the other was from the time of Emperor Ling of the Han Dynasty (Xiao Ziliang said [20]), and the other was from the Qin Dynasty (Li Daoyuan of the Northern Wei Dynasty, Zhang Huaiguan of the Tang Dynasty) Shujuan quotes "Xuxianji" and Yang Gu's "Beidu Fu" all hold this view [21]). Due to the long time gap, we have no way to determine when Wang Cizhong was born. However, from the unearthed official script materials, the formation of "Bafenshu" can be roughly dated to the period of Emperor Cheng of the Han Dynasty. By the end of the Western Han Dynasty, Bafenying had become quite mature. The author speculates that "Jianchu" may be a corruption of "Jianshi" (from the exegetical meaning, "Chu" and "Shi" have the same meaning, "Erya": "Chu, Shi".) If this is true, Wang Cizhong may He was a native of the Western Han Dynasty when he became emperor, and the time when Wang Cizhong compiled the Bafenshu coincided with the unearthed materials.
3. Distinguish the calligraphic significance of Han Li and Bafen
①Using the pen: the difference between "moving the arm" and "moving the elbow"
The author of the previous article identified Dingxian Han bamboo slips from the physical form It is a mature font of Han Li, and the Yinwan Mingye wooden slip is a more mature font of Bafenshu. It will be explained from the pen used. The author believes that Dingxian Han bamboo slips and Yinwan Mingye wooden slips belong to two writing systems. The former uses the "Li" method and the latter uses the "fen" method.
What is the "Li" law? As mentioned above, the writing style of official script comes from the deed engraving method of ancient official script. Mr. Lu Guoyao once made an exhaustive study of the word "Li" in the works of the Han people, and finally concluded that the real meaning of the word "Li" used by the Han people is not the usual understanding of "scribe", "prisoner" and the like. Rather, it refers to prisoners, that is, criminals. Mr. Lu believes that the name of official script is a nickname adopted by Ban Gu out of hatred for Qin Shihuang, because the Qin Dynasty actually unified the writing system of the country with official script. [22] The author does not agree with Mr. Lu’s conclusion, but the theory that “Li” is a prisoner and a mere official as verified by Mr. Lu has been recognized by the academic circles. As mentioned above, the official script and its writing techniques originated from the Qin script of the Warring States Period. The author recently sorted out the inscriptions on newly unearthed bronzes and accidentally discovered that the weapons made by Shangjun of the Qin State often had the inscription "Gong Lichen", such as:
(Picture 13) In the 24th year, Zang Zao, the governor of Shangjun, was the slave of Gao, the engineer, and Cheng Shen, the official of Gongli Chenqu.
"Cultural Relics Research" No. 12, Huangshan Publishing House, January 2000.
(Picture 14) In the twenty-fifth year, Zhou Zao, the governor of Shangjun, was appointed by Gao Nu Gongbikou, Cheng Shen, and Gongli Chenkou.
"Chinese Archeology" 1991 Issue 3.
(Picture 15) In the thirty-eighth year, Shangjun governor Qingzao (lacquer), Cheng Qin, Gong Li minister.
"Cultural Relics" Issue 10, 1998.
There is no doubt that this type of font should have been carved by these "gonglichen". The inscriptions on these weapons are the "殳书" in the eight styles of Qin Shu,[23] The lower copper inscription discovered in 1995 on the 19th year of Daliang's establishment of a concubine, Changshu, can be confirmed:
(Picture 16) In the 19th year of Daliang, the concubine of Daliang was established, Changshang Yang was built, Zheng.
"Archaeology and Cultural Relics" Issue 5, 1996.
The inscriptions (Shu) on these weapons should be one of the earliest sources of official script. This type of characters is carved and requires a lot of strength. Therefore, it also forms a completely different method of holding the pen (knife) and handling the pen (knife) from the seal script. After repeated research and pondering, the author found that the way to carve this type of fonts is The force-generating point is not on the wrist, nor on the elbow, but on the arm. It is carved from left to right with the arm joint as the fulcrum, so the horizontal drawing is often inclined downward to the right. This is the method of engraving the contract of Li Ren. The writing style of official script is derived from this method of holding and moving the sword. Therefore, the horizontal strokes of ancient official script are often tilted to the right and downwards. It was not until the Han official script that they could be straightened. However, no matter how mature the Han official script was, its "writing place" [24 ] is still on the left or upper left side of the character, which is also the basis for the author's writing style to believe that Dingxian Han bamboo slips are Han Li. Although the Han bamboo slips in Dingxian County have slightly raised horizontal strokes, overall they still have horizontal strokes and flat fonts. The Han bamboo slips in Dingxian County also pursue a sense of symmetry, but it is not symmetrical left and right, but symmetrical up and down. For example, in (Figure 17) [25], the upper two characters of "王", "无", "天", and "天" are symmetrical. The horizontal waves are slightly upward, so that they are symmetrical to the wave tails of the lower waves. The horizontal drawings on Han bamboo slips in Dingxian County are mostly in a slightly concave shape downwards, such as the horizontal drawings of the characters "王", "无", "之", "马" and "Ke" in (Figure 17). This is exactly The inevitable result of arm-moving writing, the calligraphers of the Qing Dynasty, He Shaoji and Yi Bingshou, were well aware of this method. Therefore, their calligraphy is vast, thick, simple and ancient, which is the inheritance of the ancient Li and Han Li methods.
What is the "division" method? "Divide", "Shuowen" "Bi Ye, Cong Ba Cong Dao, the knife is used to distinguish things". "Eight", "Shuowen" "Bieye, like the shape of separation and mutual opposition". From the words "xiao", "zhan", "gong" and "ban" in "eight" all have the meanings of "differentiation" and "contrary to each other", we know that "eight points" is not about the power of words, but the proof of Yin The name of the bay is consistent with the wooden slip. For example, the words "Tai", "Shi", "Feng", "Bu", "Li" and "Ling" on it are separated from each other, and the shapes are opposite to each other. Extremely exaggerated beauty. The writing method of "eight points" is related to but different from Xiaozhuan [26]. This is the "outer rubbing" method and the "inner rubbing" method that are famously known in the history of calligraphy. The eight-point script is externally rubbed, and the small seal script is internally stroked. The thousand-year brushwork method is derived from Therefore, among the later calligraphers, Zhong Yao was good at the external extension method, and Youjun was good at the internal method. [27] However, whether it is the external rubbing method or the internal rubbing method, the "initial stroke" of this writing method is above the character, and the calligrapher completes it by moving the elbow. In the external drawing method, the brush strokes come down from above, with the left and right facing each other. In the inner stroke method, the brush strokes come down from the top, with the left and right sides embracing each other. Mr. Shen Yinmo's summary of Youjun's brushwork as "turning from the left to the right" is really untrue.
② On the structure: "Flat-drawn wide knot" and "obliquely drawn tight knot"
Mr. Sha Menghai once concluded: "The structure of the Bei stele can be roughly divided into There are two types of "obliquely drawn tight knots" and "flat drawn wide knots". In the past, few people paid attention to the statues of "Zhang Menglong", "Gen Master" and Longmen, which are the representatives of the former. "Jing" and "Tang Yong Shu Jing Ode" are representatives of the latter. The latter inherited the official method and retained the official meaning. The former was naturally formed due to the use of the right hand for writing. This division continued to influence the Tang and Song Dynasties. , Chu Suiliang and Yan Zhenqing belong to the latter, and Ouyang Xun and Huang Tingjian belong to the former. The Southern and Northern Dynasties are their starting point." [28]
Mr. Sha Menghai’s two-system theory of structure is indeed unprecedented. The two-system theory has been widely accepted by the calligraphy circle. Anyone who discusses calligraphy structure should take this as a guideline. Mr. Sha believes that "flat paintings and wide knots" inherit the official law, which is true. But the author does not agree with Mr. Sha’s statement about “drawing tight knots at an angle”. I believe that “drawing tight knots at an angle” inherits the “eight points” method, and “flat knots with wide knots” and “drawing tight knots at an angle” are in the use of pens. This is the difference between "moving the arms" and "moving the elbows". Therefore, the author believes that the starting point of the combination of the two systems should be the Han Dynasty, not the Northern and Southern Dynasties period as mentioned by Mr. Sha.
6. Conclusion
Through the above investigation, we can draw the following opinions: (1) The development of official script has gone through three stages: ancient Li, Han Li and Bafen. (or three forms), Han Li was roughly formed in the middle and late period of Emperor Wu of the Han Dynasty, and matured during the period of Emperor Xuan of the Han Dynasty, which can be symbolized by the bamboo slips of the first year of Wufeng and Dingxian Han bamboo slips; the eight-point calligraphy was formed during the period of Emperor Cheng of the Han Dynasty, and it matured by the end of the Western Han Dynasty It is quite mature and can be symbolized by the Yinwan Mingye wooden tablet. (2) The two forms of Han Li and Bafenshu have existed for a long time since their emergence, that is, the two systems of Hanli and Bafenshu. (3) The difference between the pens used in Han Li and Ba Fen is that one moves the arm to write and the other uses the elbow to write. The "flat-drawing wide knot" inherits the Han Li method, and the "oblique drawing tight knot" inherits the eight-point method, whose starting point was the Han Dynasty.
At this point in my writing, I dare not say that I have completely solved the problem of the relationship between Li Bafen’s name and substance, which has been plaguing the academic community for a long time. However, the unearthing of the Yinwan Mingye wooden slip has indeed provided a We have provided a rare opportunity to solve this problem. The "double evidence method" of using underground materials to prove handed down documents is the best way to solve this problem. As for this article itself, I dare not provide a complete answer. Extravagant hope. Maybe you can use Pascal's words to describe yourself: "Don't think that I didn't say anything, I have rearranged all the materials."