The "force" in calligraphy and painting is an abstract expression of pointillism, linearity and the author's inner spirit. Specifically, if you can stroke in the center, that is, when you stroke, the bristles are evenly scattered and the pen center walks in the strokes. The force of the arm can be cut into the paper through the soft nib. If the bristles are twisted or twisted into a ball when writing, the bristles are not properly adjusted and spread evenly, and the bristles sweep across the paper like paint, it is called "force-penetrating paper back". Such strokes are "smeared", like ink pigs, and the brushwork is impossible. The strength of brush strokes has nothing to do with the thickness of lines, but the key lies in the author's ability to control the brush and write with the center.
From Chu Suiliang's Preface to the Big Wild Goose Pagoda, we can see that there are many tiny strokes, delicate and powerful. From Yan Zhenqing's "Yan Family Temple Monument", we can feel the dignity of the writing brush, which is like an iron hook and a silver painting. These are all examples that run through the back of the paper.
What is alienation?
"Side shift" means that the stippling of each part of a word gives way and echoes each other, so that words with more strokes do not appear dense, and words with fewer strokes do not appear sparse, such as the words next to "horse" and "bird", and the left side should be written straight to make way for the half word on the right; Other words with left and right radicals are also analogized.
What are the requirements for shelves?
The spacing between characters should be appropriate in size, length, width and inclination.
What are the basic rules for learning calligraphy?
To learn calligraphy, we must master the basic laws of writing, carrying, using and structure.
Why can't you hold a pen with your fingers?
When you move the pen tube with your fingers, it can't stay upright, and the range of motion of the pen tube is very small. I can barely cope with writing small words, but I can't write middle letters, big letters or any big words. Moreover, the fingers of the pen are not practical, and the words written are vain.
The ancients wrote "Longan" and "Phoenix Eye". How to enforce the law?
The so-called "longan" and "phoenix eye" are just mysterious statements, which are actually the most disgusting. "Longan" law enforcement means that the forefinger and middle finger only hold the front end of the pen tube in an arc shape with their fingertips, the first joint of the ring finger pushes the top in the pen tube, and the right finger of the thumb pushes the meat on the left side of the pen tube to make the tiger's mouth form a circle. It is laborious and impractical to enforce the law in this way with a twist of the wrist. As for the "phoenix eye" law enforcement, it is even more important. The index finger is high, the thumb is in the middle, the middle finger is below, and the three fingers are distributed in the upper, middle and lower sections, so that the ring finger and the little finger are naturally pinched in the palm, and the tiger's mouth is long and narrow, like the eye of a phoenix. The palm of your hand is pinched and the pen tip is inflexible, so the writer must pay attention to correcting it. In addition, some books also have the words "pinch the tube" and "lift the tube", which are also not practical.
What's so good about Sunshine Station in the Fast Snow?
The paper version of Wang Xizhi's running script "Quick Snow and Clear Post" is now in the National Palace Museum in Taipei.
Quick Snow Clear Post is the only calligraphy masterpiece of Wang Xizhi, a "book saint". Longitudinal 23cm；; Horizontal 14.8cm, running script with four lines and 28 words. "Sunny Post in the Snow" is a letter, the content of which is that the author wrote down his happy mood and greetings to his loved ones in the snowy Chu Qing. This post begins with the cursive script of "Xi's approval" and ends with the regular script of "Yin Shan Zhang Hou". This post is elegant, smart, mellow and charming, in which lines or scripts, or streams, or streams. Nothing is taken lightly, and every sentence reveals fluency and beauty.
Many people think that Kuai Xue Qing Tie is another masterpiece of his running script after The First Running Script in the World and Preface to Lanting. Zhao Mengfu, Liu Geng, Hududar, Liu Chengxi, Wang, Wen Zhenheng, Liang and others all expressed their admiration and admiration. Gan Long loved calligraphy all his life, and deliberately collected the masterpieces of famous calligraphers in the past dynasties, and integrated them into one, chasing the two kings to take their essence. He cherishes "sunny hills in heavy snow" very much. In front of the post, he wrote eight small words "A Chinese Odyssey, all ancient and modern are fresh" and four big words "Fantastic". Then he said, "Yue Long is in heaven, and the tiger lies in the phoenix pavilion." This 28-word book is called Pear and Bamboo at the Age of 28. He put this post, Wang Xun's Yuan Bo Post and Wang Xianzhi's Mid-Autumn Post in the West Warm Pavilion of Yangxintang, and made a "Sanxi Hall" imperial book plaque, which was regarded as a rare treasure. In the 12th year of Qianlong reign, 134 original calligraphers, including Sanxi, were selected from the imperial palace and inscribed with inscriptions, named "Sanxitang Fa Tie". "Reading Gu Lou" was built in Beihai, Xiyuan. The stone carvings on it are embedded in the wall of the building, and rubbings are circulated to show the model of Linchi. The original Sanxi is still hidden in Sanxi Hall and Yangxin Hall.
According to many inscriptions, seals and related books on the attached pages of this post, it is found that "A Clear Post on the Snow" was inscribed by Song Xuanhe's inner government Zhao Mengfu, Song Mi Fei's "Bao Jin Zhai" and Yuan Dynasty's court. It was owned by Zhu Hewang in the Ming Dynasty and by Zhu Hewang in the Qing Dynasty. In the 18th year of Qing Emperor Kangxi (A.D. 1679), he entered the palace. 1949, when the Kuomintang army was defeated in the civil war and retreated to Taiwan Province province, it took away a lot of gold and 2,972 boxes of exquisite cultural relics. However, this part is the best among the cultural relics of the Palace Museum, such as exquisite handicrafts, jade cabbage, jade incense burner, jade lotus leaf-shaped brushing and so on. , including Wang Xizhi's "Sunny Post on the Fast Snow". Today, "Three Wishes", "Yuan Bo Tie" and "Mid-Autumn Festival Tie" exist in Beijing Palace Museum, but "One Wish" and "Sunny Tie in Heavy Snow" are treasured in Taipei Palace Museum. China people deeply regret that the "three wishes" have not been realized.
What does "The Pen of Dong Hu" say?
Writing history, the pen is straight, Dong Hu, the Taishi of the State of Jin in the Spring and Autumn Period, also known as Shi Hu. Zhou Shixin's descendants were named as Dong Shi because of Du Dong's classics. It is said that Lianghu Village, 50 miles east of Yicheng County, is its hometown today. Dong Hu's brushwork actually pioneered the brushwork tradition in the history of China.
"Zuo Zhuan" records that in the second year of Gong Xuan, Gao Yi, Jinling, collected wealth from the people, harmed the people, and made the whole country uneasy. As a minister who ruled the Qing Dynasty, Zhao Dun tried his best to remonstrate many times, but Gong Ling did not change, but did great harm. He sent someone to assassinate him first, but failed, and then ambushed and killed him at the banquet, but failed. Zhao Dun was forced to flee. When he fled to the border of Jin, he heard that Gong Ling was killed by his brother Zhao Chuan and his army, and he returned to Jindun to remain in power.
Dong Hu recorded this incident with "Zhao Dun regicide" and announced it to the courtiers as a proclamation. Zhao Dun argued that Zhao Chuan's murder was not his crime. Dong Hu stated his reasons and said, "If the son is righteous, he will not cross the line and will not seek a thief. Who is it? " It means that as a ruling minister, when fleeing across the border, the original meaning of the monarch and his subjects has not been cut off. When he returned to the DPRK, he wanted to organize an army to crusade against the chaotic ministers. If he didn't crusade, he would be irresponsible. Therefore, the name of "regicide" should be borne by him, which is determined by the "calligraphy" of writing history.
Historians at that time were very different from later generations. They not only make historical plans, but also serve as ministers, that is, assist the monarch and his subjects to implement the laws and regulations governing the country. Their specific duty is to publicize the king's orders and record their achievements. They shoulder the dual tasks of managing history and politics. In fact, they are civilian ministers with the power of criticism and criticism. At that time, the "calligraphy" of chronicles was made according to rites, the core of which was to safeguard the righteousness of the monarch and his subjects. Zhao Dun didn't punish the monarch and his subjects, so Dong Hu decided to commit regicide. In this regard, Confucius praised Dong Hu, calling him "a good history in ancient times", and later called him "a good fox" to praise his beauty. This is because in the Spring and Autumn Period, the ceremony collapsed and the music broke down, and the powerful ministers held the life of the country and killed people to seize power. The principle of calligraphy, which violates propriety and righteousness, has long lost its majesty. Not everyone can be praised for adhering to this principle, but it often leads to fatal disasters. Qi Taishi wrote down the charge of "regicide" by Cui Shu, a powerful minister, and the two brothers were killed one after another. Dong Hu's straightforward writing style is naturally risky. Therefore, Confucius praised him, and later generations praised him, which is the recognition of the righteousness of his adherence to principles. This spirit has been persistently inherited by upright historians in later generations and has become the noblest moral sentiment in China's history and moral tradition.
Of course, with the development of the times, the meaning of straight pen has gradually got rid of the limitation that calligraphy violates etiquette and righteousness. Since Sima Qian, it has been endowed with the spirit of "not empty beauty, not hiding evil" and has the essence of historical materialism. This tradition has been inherited and developed by later progressive historians, who have compiled many works that can be called faithful history, and it is the essence of China's historical works. Its pioneering nature actually stems from the straightforward spirit of Dong Hu, a Jin Taishi, who is not afraid of power and adheres to principles. Unfortunately, it was gradually lost after the Tang Dynasty.
What is the best running script in the world?
The best running script in the world
The most influential calligraphy work in China's calligraphy history, known as "the best running script in the world", is the Preface to Lanting written by Wang Xizhi of the Eastern Jin Dynasty.
Preface to the Lanting Pavilion is Wang Xizhi's favorite stroke when he travels with friends with cocoon paper and moustache. The whole article has 28 lines and 324 words. Its composition is white and seamless. His pen and writing style are even more wonderful. There are twenty "Zhi" and seven "No" in the whole article, each with its own characteristics but not the same. He can pay attention to avoid "like an operator" and "kindred spirits", which is very valuable.
The Preface to the Orchid Pavilion is so charming and powerful that Li Shimin, after getting the ink of Wang Xizhi's Preface to the Orchid Pavilion, ordered courtiers Zhao Mo, Han Daozheng, Feng Chengsu and Zhu Gejin to distribute several copies and give them to Crown Prince Wang Jinchen. When Li Shimin died, he also wanted to "put Lanting cocoon paper into Zhaoling" to be buried with him. Preface to Lanting is a copy of Feng Chengsu, Chu Suiliang and Yu Shinan, great calligraphers in the Tang Dynasty.
At the age of twelve, Wang Xizhi studied brushwork theory from his father and calligraphy from Mrs. Wei. Later, he crossed the famous mountains in the north and upper reaches of the river, and saw the books of Lisi and Cao, and also the books of Zhong You and Cai Yong. He changed his beginner, learned from others, and made innovations in running script and cursive script. He combined some advantages of using a pen and receiving characters scattered in ancient and modern calligraphy works into a brand-new calligraphy work, taking brushwork as the backbone and verve as the soul, learning methods to innovate and "combining all methods to write", which changed the simple calligraphy style since the Han and Wei Dynasties and became a new body of beauty and beauty, achieving the goal of "being more expensive than others, being second in ancient and modern times". The Palace Museum has 3,600 original works of Wang Xizhi. Emperor Taizong personally wrote the biography of Wang Xizhi. Appreciating his works is like watching a solemn and quiet landscape painting, listening to a lingering music and reciting a page of beautiful poems, which has long been praised by future generations.
There are two most famous female calligraphers in the history of our country. Who are they?
Wang Xizhi's cursive script, regular script and running script have been respected throughout the ages. His teacher is a famous female calligrapher in the Eastern Jin Dynasty. Her surname is Wei, and she is famous. She is called Mrs. Wei. When Mrs. Wei studied the kingdom, Zhong You's calligraphy reached perfection. Her masterpiece is The Story of Ancient Celebrities in lower case letters. Its brushwork is simple and solemn, and its posture is natural, which is the top grade in regular script.
Before Mrs Wei, there was a female calligrapher. She is Cai Wenji, a famous poetess at the end of the Eastern Han Dynasty, who is famous for her Eighteen Beats of Hu Jia and Poems of Sorrow and Anger. Her name is Yan and Wenxi is her word. Her father, Cai Yong, has made great achievements in literature and calligraphy. Cai Wenji inherited his family studies and occupied a place in the history of calligraphy.
There were also young calligraphers in the Tang, Song, Yuan and Ming Dynasties. The female calligraphers in the Tang Dynasty were Wu Cailuan, Xue Tao and Wu Zetian. The lower case letters written by Wu Cailuan are very Zhong You and Wang Xizhi's brushstrokes, which are elegant and clever, and can be compared with Mrs. Wei. Xue Tao's Beauty of the King of Chen Si is a running script with ups and downs. Wu Zetian wrote cursive script, and his calligraphy was graceful and restrained. Zhu, a female calligrapher in the Song Dynasty, wrote in small letters, dignified and vigorous, and won Wang Xizhi's brushwork. Guan Daosheng was a female calligrapher in Yuan Dynasty. Zhao Mengfu's wife Zhong You, Zhao Mengfu Ziang, a passerby, was a great calligrapher in Yuan Dynasty.
When Guan Daosheng first married Zhao Mengfu, her handwriting was better than her husband's. Later, Zhao Mengfu caught up and surpassed his wife. Guan Daosheng's Plum Blossom is written in small letters, which is beautiful and leisurely.
"Three Musts" in Tang Dynasty?
Articles, calligraphy and seal cutting techniques call this "three unique skills".
It is necessary to abandon the "merits of Zhuge" and change the "seal cutting skills". There is the word "LuJian" in the lower corner of the inscription. According to historical records, he was a famous stone engraver in Tang Chaoyuan during the period of "vigorous knife cutting and exquisite carving skills". From the rubbings, we can appreciate the masterpieces carved by 1000 years ago, and it is really commendable to show the charm of the writing brush through the carving knife. Therefore, modern people call this kind of tablet "writing, calligraphy and seal cutting". The art of inscriptions in the Tang Dynasty is very prosperous, which can be reflected in inscriptions, calligraphy and sculpture. This is the result of political stability, economic prosperity, ethnic integration and friendly exchanges between China and foreign countries, and it is precisely because of the prosperity of society that a generation of artistic talents has been created. On the basis of inheriting the achievements of predecessors, they are brave in innovation and have formed a rich and colorful artistic style of inscriptions.
The phrase "three truths and six grasses"?
Li yanshou Southern History Classic "Three Truths and Six Grasses" in Tang Dynasty? "Biography of Wang Bin": "The object words are thoughtful and good articles, just as late. At that time, the artificial language said:' Three truths and six grasses are treasures in the world. The definition of this word in reference books such as Ci Yuan, China Idiom Dictionary and China Calligraphy and Seal Cutting Dictionary is "referring to various writing styles". This explanation is incomplete and does not involve the meanings of "three" and "six" in the entry. Tong Yubin thinks that "three" and "six" may refer to the ranking of brothers. But "Southern History"? However, it is recorded in Biography of Wang Zhi that "monk Wang Zhi is a pious second son". If you want to prove your hypothesis is correct, you must continue to look for evidence. Cha Nanchao? Liang? Xiao Zixian's Book of Southern Qi? Wang Jian and the Biography of Tang Dynasty? Li yanshou's Southern History? After Wang Jian's biography, he finally determined his original idea. It turned out that Wang Jian was "born after his father, Monk Chuo, was killed and raised by his uncle, Monk Qian". Therefore, Wang Sengqian's second biological son, Wang Zhi, ranked third on the list. After repeated research and textual research, the Dictionary of Poetry, Calligraphy and Allusions explains "three truths and six grasses" as follows: "Southern Dynasties? Liang? Wang Zhi ranked third, good and true; Wang Bin ranks sixth and is good at cursive writing. So people at that time called their two brothers' calligraphy' three truths and six grasses'. Generally refers to different styles of calligraphy.
What should we pay attention to when collecting inscriptions?
Judging from the changes of art and history, some ancient rubbings have been lost due to various inscriptions, and rubbings have suffered several times and become rare, so we must pay special attention to them in appreciation.
How to understand "orphans"
At present, major museums, libraries, literature and history data and personal collectors in China, as well as foreign museums and university data collections, all have rare and unique replicas of China's historical inscriptions. How can it be called a "rare book"?
1. Because some original stone carvings or engravings were damaged and lost earlier, some traces left behind were not original. According to the textual research of historical materials and written records, the inscriptions that are about to be lost are indeed "unique" and have high value in calligraphy art, literature and history.
2. If you want to call it an "orphan", it must be the original of the rubbings and stickers of the stone carvings, and the pirated ones cannot be called it. At the same time, it should be earlier rubbings, such as Tang rubbings, Song rubbings and Ming rubbings, which are relatively poor. If it's A Qing rubbings, it's often not called this "nickname". Inscriptions unearthed in the Qing Dynasty do not belong to this category.
3. Some "orphan books" are still incomplete volumes. At first, the initial expansion was incomplete. But the remains can explain the land and value of orphans. For example, according to records, the "Hot Springs Name" was first extended by dozens in the Tang Dynasty, and spread to the Song Dynasty and Mi Fei. After the extension, he wrote a line: "In August of the fourth year of Yonghui (653), Guo Yier was surrounded by the Gufu", which showed the time. However, in the Song Dynasty, Pan Jiang was inscribed, but the fake "Jiang Tie" was not engraved, and later it was engraved in the "Jun Qing Pass", indicating that this post had been circulated in the Song Dynasty, and the original extension was lost until it was found in the Thousand Buddha Cave in Dunhuang from 65438 to 0896, but it was incomplete compared with the original extension and was plundered by the French. A photocopy of the photo shows that Luo Zhenyu said in "The Star Phoenix of Maureen": "Bo Shi believes in good books, and everyone has his own ideas, but his calligraphy is solid and he is a minister." Explain that these fifty lines are valuable. Because there are many problems in the residual edition, we should research and explain the status of the "orphan edition" according to the specific situation.
Second, how to understand "rare edition"
Some of the original rubbings of famous stone carvings and inscriptions are rare, or the quality difference of the original rubbings is caused by various factors, which directly affects the artistic quality and the reliability of materials. Part of it flowed to the country name because of the original lettering. Therefore, the earlier and rarer versions of the original extension in China are rare treasures. For example, there are only one or two original extensions in the Tang, Song and Ming Dynasties, all of which belong to the category of "rare books".
Analysis of various "rare books", from the perspective of calligraphy, there are roughly four kinds:
The first type: the original stone has been lost for a long time. The original extension has a great influence on calligraphy and is representative. Although there are various differences in the quality of various rubbings in the future, they still feel precious and can be called "rare books". For example, the tablet of Huashan Temple in Xiyue, and the old stone is in Xiyue Temple in Huayin, Shaanxi. There are 22 lines of official script, each with 38 words. Jiajing 1555 in Ming Dynasty was destroyed by the earthquake, and it was engraved with Guo Xiangcha's book and Yingchuan Handan Gong. Now there is a copy of Changyuan, and the most important one is the copy of the Northern Song Dynasty collected by King Hebei. The handwriting is only cross-damaged, which was bought by Nakamura, Japan. Secondly, Huayin edition (Guanzhong edition) is a non-rubbinged edition collected by Dongzhi Library of the original county in the historical and geographical years. Later, it was collected by Hong, indicating that nearly 100 words of rubbings were incomplete, and it is now in the Palace Museum in Beijing. Third, the four Ming editions and rubbings collected by Fengxi (Daosheng) in Zhejiang Province were later collected by Ningbo Tianyi Pavilion Fan, but the number of residual characters increased. Duan Fang collected and recorded in the Qing Dynasty, and now it is also in the Palace Museum. Li Wentian also has half of Song Tuo's book, because this half of the book has been kept in private, and it was not known to the world until the Ma Rilu brothers hid it in Linglong Mountain Pavilion in the early Qing Dynasty, and there were more defects than white river cracks. Now it is kept by Mr. Ouyang of the Chinese University of Hong Kong, and Mr. Ouyang has a postscript. From the comparison of these four rare books, Changyuan is the best.
The second type: the initial extension of the original stone, due to factors such as extension and material, as well as storage factors, the quality of the original stone extension is different. For example, there are not many rubbings of original cinnabar (golden red) carved by the emperor, but they are found in Beijing and Taiwan Province Province. Later ink rubbings were not as good as Zhu rubbings and the first rubbings. One is the craft, the other is the long time interval and the material problem, so the vermilion version has become a rare version in seal cutting. Another example is the "Tomb of Brick Pagoda of Wangfu" unearthed in whipple Valley, Zhong Nanshan, Shaanxi Province during the Wanli period of the Ming Dynasty. In the south of Chang 'an County, the initial extension has been broken into three pieces, then five pieces, and then split into seven pieces. Later, the first piece was lost due to handling, and it all hit the extension of the vertebral body, so the initial extension was extremely rare. Liaoning Museum has the best rare books unearthed in Ming Dynasty.
The third type: the original stone still exists, but it is damaged too much, while the old rubbings are complete. This situation is because the original stone is stored in the wild, or the stone is poor in quality or struck by lightning, so the original rubbings are also very rare, which can be called "rare books". For example, the old stone in the epitaph of Sui Jishi was unearthed in Xianning, Shaanxi Province in the twentieth year of Jiaqing (18 15), and the stone of Lu Yaoqing in Wujin was moved to Jiangzuo. In the tenth year of Xianfeng (1860), the word 170 was divided into two sections, and the original stone was the first. After the war, the residual stone was recovered by Lu Yanfu, which was incomparable with the original stone rubbings. However, due to its superb calligraphy skills, the original rubbings can be called treasures, which is described in the Tomb Records of the Han, Wei, Southern and Northern Dynasties (edited by Zhao Wanli). The original stone is hidden in the Forbidden City in Beijing.
The fourth type: the original stone flows abroad, and few rubbings are preserved in China. The artistic quality of these inscriptions abroad is very high, with few rubbings, and some are even restored. These inscriptions are generally found in the late Qing Dynasty and the Republic of China, and some of them were sold or looted because of political corruption in the Han Dynasty. For example, in 19 19, a gold monument was unearthed in Luoyang, Henan Province. The tablet is small, with the first 19 lines and the last 6 lines 19 characters, all of which are official scripts. Because the political situation was turbulent at that time, no one took care of it and was bought by the Japanese who heard the news. There are not many rubbings in China, and most of them are reprinted. Compared with the original rubbings, the factory flowers in the left corner show traces of knives and axes. However, Zhang Langbei has not only the artistic value of calligraphy, but also the value of literature and history, so the monument is small but also a treasure.
What chapter is the famous Cao Zhang copybook?
Emergency chapter
The origin of Cao Zhang
Cao Zhang is an ancient calligraphy with a history of 2000 years in China. In this long time, many experts and scholars have left quite a lot of discussions and works. In that case, what is there to say? There are two reasons: First, there are many different views on Cao Zhang itself, such as structural pronunciation training and translation. Second, general problems, such as Cao Zhang's calligraphy and its position in the history of calligraphy. Not only in different times, but even everyone may have different opinions. What I have described in this article are my views on Cao Zhang.
About the origin of Cao Zhang, the general statement is as follows: 1. Zhang Huaiguan's Broken Tang Book: "Cao Zhang was written by You in the Han and Huang Dynasties." Second, Wang: "Emperor Han and Yuan hastily wrote a chapter and dissolved the official body. The custom of China is simple and simple, and it is gradually being done. " Third, the Northern Song Dynasty Huang's "On the East View": "The cursive script is famous, not this one, but it is said that the birth of the ancient calendar is now the official book. Therefore, Cao Zhang should be before cursive script, but it has no name. Because the Han Dynasty built a junior high school, Du was good at it, and the emperor called it (according to Emperor Zhang), so later generations were surprised. " It is called Cao Zhang because it applies to Zhang Zou.
Some of the above statements are correct and some are negotiable. For example, Cao Zhang occurred in the late Western Han Dynasty, near Yuan Di. It reached its climax in the early and middle period of the Eastern Han Dynasty, that is, before and after Zhang. Judging from its time, the problem is not big. Another example is the name of Cao Zhang, which has always been "used by Zhang Zou" and "recognized by Zhang Di". Although it all makes sense, in ancient times, the emperor was everything. So it is more likely to be named after Johnny. Another example is "Cao Zhang cursive script is full of waves", which is an important feature. However, from the overall view of Cao Zhang, it is not comprehensive enough. Because Cao Zhang has become a font in the history of calligraphy, it is different from official script or cursive script in many aspects.
I have always opposed the legend of Cang Xie's writing, and I don't believe that You Shi created Cao Zhang and compiled the "urgent chapter". Therefore, in my opinion, the origin of Cao Zhang, from seal script to official script, is of great reference value. The Book of Jin Wei Heng Biography said: "Since the Qin Dynasty used seal script, there were many things in Qin Dynasty, and seal script was difficult to make. Even if Li people write books, they also say Li characters; Han did it because of it. The scribe is also the winner of the seal. " "Zuo Zhuan" lived in seclusion for five years: Li's "first thing Li" Note: "Early transfer is a cheap service in ancient times." That is, petty officials and the like, so official script is a vulgar style, written by greedy and simple calligraphers. Han people regard it as a convenient way of writing, and after processing and sorting, it is designated as the universal calligraphy style in China. The name was transferred on the same day, because it turned out to be an early book.
The continuous development of human society and the endless progress of culture are all driven by the idea of never being satisfied with the status quo. In the Han Dynasty, the working people who used pen as a tool or had something to do with writing cheered for a while, but as soon as their voices stopped, they used their brains to seek further hints on the basis of official script. Finally found a new way of "planting grass". Since then, decades of efforts have become an irresistible trend, not only rampaging in society, but also invincible. Even extend this hand to the government, even to the palace gate. By the late Western Han Dynasty, there was a tendency that the Longwang Temple was washed away by the flood. Although this point is not mentioned in ancient history books, it is not difficult to find such a fact from thousands of wooden slips of Han Dynasty and Wei and Jin Dynasties unearthed from Juyan site.
In ancient times, writing and calligraphy were, after all, one of the "magic weapons" possessed by the upper class. Of course, when we are hit by this trend, we cannot turn a blind eye and turn a blind eye. In view of the late Zhou Dynasty, the upper class, including the emperor, was divided into seven countries, ... with different voices and different personalities. Chaos is out of control. From what they did in the future, three principles were decided at that time: First, they realized that the wind of "planting grass" was fierce and had reached an irresistible and irresistible level. Therefore, we can only accept it conditionally. Second, official script, as a general book of Han Dynasty, was a system established by Liu, so it must not be abolished. When accepting cursive script, we must keep the characteristics of official script. Third, in the middle of the reform, we should pay attention to standardization, sort out a standardized word book and promote a new style of writing. This is an urgent chapter handed down from generation to generation. Therefore, the formation of Cao Zhang was the crystallization of the upper molecular wisdom at that time. After constant revision and supplement, it is improving day by day. It reached its climax when Emperor Gaozu Zhang approved it as a constitution.