Li Shu, sealing the valerian also.
This is a classic description of Lishu itself and its background in Wei Heng's Four Books of the Western Jin Dynasty.
In fact, the regular script of seal script refers to a new relatively independent font that changed in structure and writing during the Spring and Autumn Period and the Warring States Period.
In other words, official script was born out of seal script font through "official change".
Li Bian is an important calligraphy cultural event in the history of calligraphy in China.
The internal motivation of the official change is to adapt to the requirements of the social development at that time for the application of characters.
"Li change is mainly manifested in two aspects: first, the change of font structure is not only the change of regular script font structure, but also the main direction of this change is simplification; The second is the change of writing style, which is not only to change the writing style of the original regular script, but also to be concise and convenient.
The simplification of font structure and the simple flow of writing style constitute the core content of the transformation process of officialdom.
The simplification of glyph structure and writing style here is not only for the improvement of writing speed, but also for the inherent writing movement situation that is more in line with people's physiological movement track, so that official script was widely used with the political changes at the turn of Qin and Han Dynasties.
As far as calligraphy is concerned, Li Bian has completed the conversion of the following official seals:
1, get rid of the solidification of seal script structure and move towards the abstract expression of the temporal and spatial movement of official script lines;
2. Lines change from euphemistic arc strokes of seal script to steep straight strokes, and twists and turns change from joint circle of seal script to turning point of Fang Bi.
The formal transformation marks the destruction of the phase of Chinese characters and the establishment of abstract symbols, which makes Chinese characters change from ancient writing system to modern writing system. At the same time, it also marks the final formation of the independent personality and aesthetic characteristics of Lishu.
On the other hand, as people's normative consciousness, we must standardize this new font and style.
As a result, a highly standardized stereotyped writing appeared in the late Han Dynasty.
Therefore, we say that the so-called official reform process is the normative construction process of the new calligraphy body produced by the triumph of seal script.
As calligraphy, the beauty of official script lies in the process of official change that lasted more than 400 years.
It is very necessary to interpret the aesthetic connotation and background of official script, which is helpful to our in-depth understanding of official script itself.
Usually, we 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, we should interpret the process of official change 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 official books.
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 constantly planting grass, because of the different writing movements, what we call 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 the stone inscriptions such as Yi Ying Monument, Li Monument, Huashan Monument, Cao Quanbei, Zhang Qianbei, etc. 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, we say that the general trend of official script development from the simplicity of the Western Han Dynasty to the standardization of the Eastern Han Dynasty is not entirely a sign that official script is maturing, 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.
Therefore, we say that the formation of the independent personality and aesthetic characteristics of official script was not highly standardized and mature in the Eastern Han Dynasty, but existed in the process of official script reform for more than 400 years.
In the 400-year transformation of officialdom, there are too many calligraphy texts to be interpreted and recognized.
Zhang Qianbei is simple and bold, vigorous and broad, and Cao Quanbei is elegant and gorgeous, handsome and moist, which shows us the classic stone carving calligraphy of the Eastern Han Dynasty with different styles, different structures and different aesthetic orientations.
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.
However, the elegance, magnificence, solemnity and neatness of stone carvings in the Eastern Han Dynasty are only a complete and gorgeous beauty.
Without the simplicity and simplicity of the original official script, this beauty is hypocritical, artificial and emotionless.
If the elegance, magnificence, solemnity and order of stone carvings in the Eastern Han Dynasty are put into the original unrestrained, smooth and broad aesthetic atmosphere of official script, then calligraphy will have a natural simple and broad atmosphere.
And this kind of beauty is closer to the real beauty of life.
Because a large number of scribbles in the process of official change seem simple, simple and ordinary, but in fact they contain infinite aesthetic value and are the true expression of human life system.
Cognition is the premise of inheritance.
Therefore, it is our constant concern to explore the aesthetic essence of official script in Han Dynasty and the cultural and spiritual connotation behind it.
At the same time, it should also be the premise and theoretical fulcrum for us to complete the epoch-making breakthrough and development of official script.
Needless to say, the so-called innovation is more practical to deeply understand the tradition of official script.
As long as we know and understand some traditions of official script and complete the connection between tradition and modernity, then we can create official script works that pay equal attention to both classicality and modernity.
The so-called classicality here is the continuous development form of official script, and the so-called modernity is the modern aesthetic consciousness and cultural spirit of official script.
Classical-modern has holographic content, but it is not entirely neoclassicism advocated by Mr. Zhou Junjie.
So when I talk about classicism and modernity, I have the consciousness of combing classicism and interpreting the times in a new time and space framework.
It may be anti-traditional, because we look at tradition from the standpoint of the times.
It may also be inherited from tradition, because tradition is affecting us.
Variant official script, also called official script.
It is a popular style of official script in contemporary calligraphy, and it is a writing style that pays attention to change and individuality in terms of traditional official script.
The strokes are not standardized, emphasizing improvisation.
However, Fan Xiaoge, the master of official script, believes that the purpose of official script is to be beautiful, not ugly.
If everyone pursues writing variant characters, then variant characters will also be stylized.
He believes that some variants of official script only pursue great feeling and great effect, and they can't stand scrutiny on single words and strokes.
Often used to cover up the lack of basic skills with great fanfare.
In addition to development, official script also had an impact on Wei Bei regular script. Take the tablet of Zhang Menglong as an example, there is some official script spirit in the words.
Don was also affected.
The pagoda in Yan Zhenqing also has the spirit of official script, which is gradually passed down.