Appreciation of Shi Chenbei's exquisite official script
Shi Chenbei exquisite official script calligraphy picture 1
Shi Chenbei exquisite official script calligraphy picture 2
Shi Chenbei exquisite official script calligraphy picture 3
Exquisite Calligraphy Picture 4 introduces the memories of Han He, also known as the Qian Monument or the Hou Monument, also known as the Hou Monument of Chen Shi. These two monuments are carved on both sides of the same stone. "Chen Shi Qian Bei" was carved in Jianning two years later, and then on the back of it. There is a saying that the first year is carved first, and then turned back. Qianbei, Lishu, No Amount, Seventeen Lines, Thirty-six Characters, Houbei, Lishu, Fourteen Lines, Thirty-six Characters, Confucius Temple in Qufu, Shandong. "The Monument before and after Chen Shi" is one of the famous Han Monuments, with neat and dignified inscriptions. The strokes converge, the waves open left and right, and the density is good. The strokes are round and thick, with a sense of solemnity. Although its feet have entered the square atmosphere at the end of the Han Dynasty, it still has a posture but does not stagnate. In the Qing Dynasty, Fang Shuo thought that the Early History Monument had the characteristics of profound calligraphy, profound ancient style, rigorous structure and profound meaning. It's a temple production, and it's eight points original "(see" Inscription on the Pillow Sutra Hall "). He said: "There are still many inscriptions on books in Tokyo. Every time you encounter an inscription, it will have different meanings. You can imagine the wonderful changes of the ancients. To know the historical structure of Tokyo, the whole square is hidden in the middle and changes endlessly. Wei and Wu are both dull. " (Postscript of Shi Chenbei). The word "autumn" in this book is well preserved and is a masterpiece of Ming Tuo.
Modern calligrapher's fee evaluation: "This tablet is simple, dignified and elegant, and has always been rated as a first-class tablet of Han Dynasty. There are few indelible places, which is a clear one among the Han steles. The writing of Qianbei seems a bit stiff, while the writing and writing rules of Houbei are more indulgent. Generally speaking, the inscriptions before and after Chen Shi have regular fonts, which belong to Han Li's Pingze calligraphy. It was a typical official style at that time, suitable for beginners. "
The Confucius Temple in Qufu, east of China, was built in 478 BC, the year after Confucius died. With the continuous improvement of Confucius' status, the scale of Confucius Temple is constantly expanding, and now it covers an area of 2,654,388+0.8 million square meters, including three halls, one pavilion, one altar, three shrines, two temples, two halls, two halls and fifty-four gates. It has collected more than 2,000 inscriptions of past dynasties, which is the second largest forest of steles in China after Xi 'an forest of steles and one of the four largest forest of steles in China.
Shi Chenbei is the treasure of Confucius Temple, and it is also known as the three famous monuments of Confucius Temple, together with Li Monument and Yiying Monument.
In the Eastern Han Dynasty, there were tables of titles in the palaces of the Han Dynasty, and notices and bans in the official offices. They also often write to a large suite standing in Tong Heng Jin Yao. However, these large books can't be seen today, and large works can only be found in inscriptions. Especially bamboo slips, because they are very small, usually only one or two lines are written. Arranged into articles, so there is no rhyme, the inscription is large in length and has many lines, so the arrangement is exquisite, and there are roughly three forms:
Orderly ranks: Some temples in the Han Dynasty have inscriptions such as Yi Ying, Chen Shi and Li Qi, and tombstones such as Wu Rong, Cao Quan and Zhang Qian, as well as Xiping Shijing and Xi Narrow Cliff Fu, all of which are in order, full of sulfur and fresh fat. Because stereotyped writing is mostly flat and square, it naturally forms a unique composition with word spacing greater than line spacing. This composition is often used in official script works in Ming and Qing dynasties, sometimes increasing the spacing between words and reducing the spacing between lines. With this composition, the characters are similar in size and more neat.
There are lines but no columns: There are lines and no columns in the Han Dynasty inscriptions, such as Diary of Three Old People's Taboo, Sangong Mountain Monument and Wang Xiaoyuan Monument. Laizihou Stone Carving, Shiqiang Village Stone Carving, Taishi Stone Carving, Cangshan Chengqian Village Yuanjiayuan New Year Painting Stone Carving, Luotajun Stone Ancestral Hall Portrait Stone Carving, Xu Anguo Ancestral Hall Stone Carving, etc. , are all drawn with vertical lines. This form is more common in epitaphs and stone reliefs, and the words engraved in the book have different lengths and flatness. Closer spacing, slightly wider spacing and compactness. If you draw lines, even if the spacing is tight, it won't appear messy. Lines play the role of spacing and increasing circulation.
No lines and no columns: in the stone carvings of the Han Dynasty, there are no lines and no columns, or there are lines and no feet. This form is more common in cliff, because the lettering is on the natural rock wall, or although it has been corrected, the stone surface is uneven, and sometimes there are stone edges and cracks, so the words have to get out of the way, so it is not in the ranks. This composition seems messy, but it is not easy to operate. Sometimes the font size is very different, scattered and uncompromising. The strokes are thin, and when they are thick and fat, they become muddy and white. General words are more vivid and interesting.
Coordination between composition and calligraphy: composition is the arrangement of whole words. Although it is not the wooden body of calligraphy, it is an important aspect of the whole work. Composition has an influence on the style of calligraphy works. The combination of composition and calligraphy can make the pursuit stronger, otherwise it will often fail. "Cao Quanbei", "Confucius Monument" and so on, the calligraphy is elegant and beautiful, with wide line spacing, which is more ethereal and free and easy. As well as Ode to the Pavilion and Monument to the School Official, the calligraphy is simple and heavy, and the spacing between words is compact, which adds a strong sense of antiquity. The word "Ode to Jun and Carve Stones on Inclined Road" is 1 cm square, simple, muddy, clumsy and broad, but the composition is impenetrable, which increases the momentum of the word. A careful observation of the inscriptions in the Han Dynasty reveals that many of them complement each other because of the perfect cooperation between composition and calligraphy. This can't be a pure coincidence. It is worth noting that calligraphers in the Han Dynasty had a clear understanding of the function of composition and skillfully managed the whole layout.
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