Before analyzing the structural characteristics of Cao Quanbei in detail, let's talk about the problems that should be paid attention to when studying the monument structure.
To write the structure of Cao Quanbei well, we should try our best to achieve accurate vertical and horizontal positions and clear strokes. "Vertical and horizontal occupation" refers to the position of each stroke and how many positions are occupied vertically and horizontally. The positions of strokes are different, so the vertical and horizontal positions are also different. Eating the right vertical and horizontal space occupation is directly related to writing a good structure. Then clarify the echo relationship between each stroke or each part, and at the same time, be sure to see the word potential clearly and show it in the pen.
Before you come to Cao Quanbei, you should first read the posts carefully, that is, you must carefully observe the characters and memorize the features of the bookshelf from each stroke to the whole character. Only by careful observation, paying attention to the arrangement of stippling structure, the rise and fall of strokes, turning or Fiona Fang, and remembering them one by one, can we better grasp the style of fonts and improve our copying ability. This is the first step of the post.
Secondly, observe the words accurately. As Wang Xizhi said, "concentrate on your mind, predict the font size, droop, vibrate directly, dredge the tendons and veins, and then write." Before writing, you should use your head and try to make clear the arrangement of length, skew, thickness, turning point, lifting pressure and frame structure, and keep it in mind, so as to write accurately.
Third, write steadily. In other words, in the process of writing, the pen should be steady, the pen should be sent to the end, and the pen should be fully prepared. This requires the trainees to work hard, study hard and practice hard. Only by practicing repeatedly can we be comfortable and use it freely.
Let's analyze the structural features of Cao Quanbei in detail.
1. The oblate structure is Han Li's * * * nature, which is determined by Han Li's tendency to take more horizontal positions. However, some of the writing structures are almost flat, which is rare in other Han steles. As shown in Figure 1, "* * *", two beams spread downward and swing from side to side. The upper two vertical beams correspond to the lower two tight beams, which shows the tight knot in the middle palace, which is in contrast to the big wave painting in the middle. The horizontal painting of the word "straight" and "Deng" in Figure 2 is like a gymnast stretching his legs, and his upper body is symmetrical and tight. In Figure 3, the word "Yuan" is like a big umbrella, which completely covers the middle part, while the vertical hook of the word "Yuan" extends as far as possible to the right, making the whole word elegant and stretched.
2. The size is alternating. This is also the structural feature of Cao Quanbei. The big one is like the word "Xue" in Figure 4, and the small one is like the word "Gang". The size ratio of the two is about twice. Because of the wide spacing and sparse lines on this monument, the size of the knot appears uneven in the orderly grand composition, which is full of variability and adaptability, so the big one does not see its big, and the small one does not show its small, thus achieving a dialectical unity that complements each other. It can also be seen that the author is very good at using the method of contrast to enrich the composition of this monument through the size and length of the text.
This cloth is well-proportioned. This is mainly manifested in the coordination between stippling of a word, the distance between the same stippling is roughly equal, and the stroke combination of the word is also dense and symmetrical. As shown in figure 5, the left half of the word "tide" is painted in dense rows, and the right half is painted in sparse rows. The gap between strokes is very uniform, the left and right are consistent, and the density is good. Those who circle repeatedly, such as the two "Yao" in the word "You", are the same size but not rigid. This structural arrangement endows Cao Quanbei with neat, steady, exquisite and elegant temperament.
4. put it away at will. Structural expansion is the main feature of Han Li's historic sites, especially in Cao Quanbei. Its retraction is mainly reflected by the left and right stretching of the pick wave and the skim wave. As shown in Figure 6, the word "Kan" is loose on the left and tight on the right, while the word "Yi" is reversed, that is, the word "Jing" is put down and the word "forbearance" is put down. In this way, the height is scattered, the width changes, and the density of the two parts is properly reconciled, making the characters vivid and flexible. It can be said that the collection has reached its acme in Cao Quanbei, which has become an indispensable main feature of this monument and a symbol of its maturity. Most of these characters are fluent in strokes, moving silently, swallowtail, comfortable in posture, and the contrast between density and vertical convergence is particularly strong. Cao Quanbei's elegant and beautiful style is mainly reflected here.
5. The pen is broken. As shown in Figure 7, the strokes in the left and right corners of the upper half of the word "Guo" are broken, which makes it full but not forced, while the "or" in the middle leads to ethereal and more ethereal. Another example is the left side of the word "Lu", which should be the place where the second horizontal line in the upper part and the vertical line in the lower part are connected, but now they are separated and combined with the right side to form a word. The left side is broken and the right side is connected, but they set each other off.
6. Tighten and loosen. The word "Cao Quanbei" is beautiful and elegant, just like a fairy coming down from the earth, she is outside the cloud nine. It is not only flatter than the general Han tablet, but also closely related to the upper beam and the middle and lower extension of its center of gravity. As shown in Figure 8, the word "Yi" is short on the top and high on the bottom, or vertical or scattered. Another example is that the whole word "Li" is folded up, tightly wound in the upper half of the palace, and escapes to the left in a thick arc, which is more rhythmic in the strong contrast of density. This close-fitting structure is one of the key elements to form a beautiful artistic style. It is beautiful with Gu Zhuo's simple and natural beauty and cannot be biased.