Appreciating the calligraphy works of official script Pictures of official script calligraphy works 1
Picture 2 of Lishu calligraphy works
Picture 3 of Lishu calligraphy works
Picture 4 of Lishu calligraphy works
Picture 5 of Lishu calligraphy works
What are the characteristics of official script characters?
1、? Jin Fang Gu Zhuo? Official script evolved from simplified seal script. Transform the circle of seal script into a square fold, so there is? Seal for the party? And official script is an ancient style. Jin Fang Gu Zhuo? It gives an overview of the official script.
2、? A goose with a silkworm head and a goose tail must have a 30% discount on the pen? Refers to the unique horizontal painting of official script? The shape of the wave cross (that is, cross painting) and the writing steps of the official script strokes. When you write a wave, first force it to the left? The Tibetan front is retreating? Then turn the pen to the right. Shaped like a silkworm head; Immediately, the pen was slightly lifted, so that the pen was moved to the right by the center. What is this? Go all out? ; Finally, when writing feet, the pen tip is pressed down, slowly lifted and picked out to the right. It is shaped like the tail of a wild goose. Generally, pens are closed before exposure, but some are slowly closed before exposure. Pay attention when writing a cross, with? Mention? How to write. In this way, the strokes are natural. ? Pens must be 30% off? It means that you should pay attention to the three steps of putting pen to paper, using pen and collecting pen when writing official script strokes, which is also commonly known as? 30% off? Don't sweep straight past. The Tibetan front goes against the trend, and the center writes? It is the basic method of using pen in official script.
3、? Wild geese don't fly in pairs, and silkworms don't have two colors? It is said that if you write an official script, don't repeat the strokes. If a word has two or more horizontal strokes, only one stroke can be written as a wave, and the other stroke can be written as a horizontal stroke. It's called. Don't geese fly in pairs? ; And then what? Silkworms have no color? It means that the writing method of silkworm head is basically the same, but the shape of silkworm head can be changed slightly.
4. Because the shape of Lishu is horizontal, many strokes are symmetrically unfolded, especially the combination of left and right, and the obvious horizontal trend increases the vivid feeling.
Aesthetic connotation of official script
It is very necessary to interpret the aesthetic connotation and background of official script, which is helpful to deeply understand the ontology of official script. We usually know official script from the existing Han steles and bamboo slips. However, it is far from enough to understand official script only through Han steles and bamboo slips. Because we can't understand the origin of the aesthetic connotation of official script. Therefore, it is necessary to interpret the change process of the official system for more than 400 years under the cultural background of Qin and Han dynasties, and explore the cultural and ideological origin of the beauty of the official system. Only in this way can we know some official script traditions.
In the Han Dynasty, Lishu not only formed its own independent personality and aesthetic characteristics through the process of bureaucratization, but also had a general trend of development in the direction of laxity and standardization. On the one hand, Lishu gradually broke away from its original practical position in the extreme of overemphasizing the convenience of writing, and then in the process of planting grass, due to the different writing movements, the so-called Cao Zhang and modern grass finally formed; On the other hand, it shows the normative construction of the original writing form of official script, which is based on the formal order. Because the stability of writing order directly affects the smooth communication of national culture and social progress. This is an important link that the government has always attached importance to. Therefore, with the establishment of the kingship in the Han Dynasty, it is inevitable to standardize the official script widely circulated in real life. Stereotyped writing effectively overcomes the tendency of random writing in seal script Li Jie's calligraphy by standardized means, and makes the formal order tend to stable position selection and orderly structure diagram. Coupled with the constant accommodation of the aesthetic concepts of the official literati in the Han Dynasty, it finally formed a standardized, harmonious, quiet and left-handed style. The overall trend of stone carving in Han Dynasty from the simplicity of Western Han Dynasty to the standardization of Eastern Han Dynasty also confirms the historical process of official standardization of official seal characters.
However, today's academic and calligraphy circles generally regard the gradual development trend of stone carving in Han Dynasty as a sign that official script is maturing. This is not only far-fetched, but also brings difficulties to the interpretation of official script ontology theory. This is because: First, the transformation of stereotyped writing to official script is based on the standardization of art and the modification of lines. Not only does it not have the randomness and rationality of writing, but it increases the difficulty of writing and loses the practical position of official script which was originally simple and convenient to write; Secondly, from the perspective of the writing subject, from the original official official position to the literati and officials. It can be seen from Zhang Qianbei Cao Quanbei's stone inscriptions such as Yi Ying Bei, Li Ji Bei and Hua Shan Bei that the eight-part essay has begun to have the artistic characteristics of elegance, standardization and literati. These calligraphy characters generally have one feature, that is, waves. This wave is actually a beautification of the original official script writing method of seal interpretation. The flying lines and waves make the carved stone official script break away from the simplicity and simplicity of the original official script and begin to have the artistic characteristics of elegance and literati, which is the embodiment of the romantic and chic artistic aesthetic spirit of the literati in Han Dynasty. It is this artistic feature of elegance, standardization and literati that makes the official script lose its internal conditions and social foundation for widespread circulation in society, so it should not belong to the official script in the original sense. In fact, the official script in stone carvings shows a trend of gradual standardization, and its essence is the dual result of the standardization and aesthetic transformation of the official script in the first edition of seal script. The Book of Songs in Xiping embodies the stability of stereotyped writing to the greatest extent with its highly standardized formal order, structural similarity principle and formal similarity characteristics. From the perspective of philology, octupole should be a new and relatively independent font. Therefore, the overall trend of official script development, from the simplicity of the Western Han Dynasty to the stability of the Eastern Han Dynasty, is not entirely a sign of the maturity of official script, but a new font. Because of its own essential characteristics and use orientation, it is bound to break away from the mainstream of official script writing and develop in a more standardized direction. The characteristics and contents of Xiping Book of Songs also prove the limitations of using stereotyped writing as a standard font in the Eastern Han Dynasty.
The formation of the independent character and aesthetic characteristics of official script was not the high level and maturity in the Eastern Han Dynasty, but existed in the process of official script reform for more than 400 years. There are too many calligraphy texts that need to be interpreted and recognized in the 400-year transformation of officialdom. Zhang Qianbei is simple and bold, vigorous and broad, and Cao Quanbei is elegant and gorgeous, handsome and warm. We have seen different styles, structures and aesthetic orientations of the Eastern Han Dynasty's classic stone carving calligraphy. This is the writing inspiration of the clean cultural atmosphere in the Eastern Han Dynasty and the literati's confidence in understanding and conquering nature. In particular, the free and easy vagrancy of Shimen Fu embodies the open feelings of literati returning to nature, and the carving of folk craftsmen has injected a kind of folk simplicity into Shimen Fu, which has both the simplicity and randomness of the original official script and the unique artistic charm of humanistic feelings, showing the bold character and broad-minded natural atmosphere of Shimen Fu and becoming a book handed down from generation to generation.