Selected works of Li Yingbei's calligraphy.
Lishu 1 Selected Pictures of Li Yingbei's Calligraphy Works
Lishu 2 Selected Pictures of Li Yingbei's Calligraphy Works
Lishu 3 Selected Pictures of Li Yingbei's Calligraphy Works
Lishu 4 Selected Pictures of Li Yingbei's Calligraphy Works
Appreciation of Yiying Monument
Han Li, after the development of the early Qin Dynasty and the Eastern Han Dynasty, reached its peak in Huan and Lingdi. Ying Ying Monument is one of the representative works of Han Li in its heyday.
Inscription is a kind of stone carving that became popular in the Eastern Han Dynasty. During the Eastern Han Dynasty, the rulers advocated Confucianism, filial piety, private education and Confucian classics, and reburial and monument-building prevailed in society.
The full name of "Yiying Monument" is "Lu Han Xiang Yiying Please Monument the Hundred Stones of Confucius Temple", which was established in the first year of Yongxing in the Eastern Han Dynasty (A.D. 153), with 40 words in line 18. Originally in Confucius Temple in Qufu, Shandong Province, it is now located in Qufu Monument Garden.
The inscription mainly records that Lv Xiang and Yi Ying wrote to invite one person to set up a history of a hundred stone pawns in the Confucius Temple, and was in charge of the sacrificial ceremony at the Temple Fair of Rites. Emperor Huan allowed it, and an official letter was engraved on the inscription, asking about the history of hundreds of stone deaths and paying tribute to Yi Ying. Because the selected history of the hundred stone pawns is Kong He, this monument is also called Kong He Monument. At the end of the tablet, there is an inscription "written by Zhong Taiwei in the later Han Dynasty and written by Zhang in the seventh year of Song Jiayou". There is no doubt that Zhong You's era was wrongly entrusted by later generations. As Zhao Gan said in the Ming Dynasty, "Its narrative is simple and its official laws are rich, which makes people want to see the elegance of the Han people, so they don't have to be far away." ("graphite carving")
There have always been two kinds of printed editions of this tablet, namely, the Koro edition of the Art Garden Authentic Appreciation Society, the Yin Shi Tao Zhai Collection of Zhengshu Company, the inscription of Wang Xiaoyu printed in the Koro edition of Civilization Bookstore, the edition compiled by Japan Erxuan Society, the Koro edition of Japan Qingyatang, etc. The best edition was commissioned by the Antiquities Tongxin Society to be printed by Zhonghua Book Company, and Wang Jiu Collection was in the middle of Ming Dynasty.
Later generations spoke highly of this monument. Since Ouyang Xiu collected ancient records, it has had a great influence on later generations. Sun Chengze's Summer of the Gengzi in the Qing Dynasty said: "The style of writing is elegant and the style of writing is elegant, which is the most difficult to get in Han stone." Together with Shi Chenbei and Sacrificial Monument, they are called "Three Monuments". This tablet has an important influence on the official scripts of Tang Dynasty (such as Shi and Liang Shengqing), Ming and Qing Dynasties (such as Zheng Zhi) and modern Ma and Lai Chusheng. Why do you call it "a door benefits from opening" ("Carving Stone in the Cottage of the Eastern Zhou Dynasty").
One English Monument is a typical work in Han Li's heyday. It has its own personality, that is, artistic features, except for Han Li's writing with a pen.
First of all, in terms of style and form, Yiying Monument has the beauty of an ancestral temple. Its style is not as luxurious as ode to Shimen, nor as elegant as Cao Quanbei, but somewhere in between. One point thicker than "Li Bei" and one point stronger than "Shi Chenbei". Its brushwork is heavy, its words are dignified and graceful, which embodies a dimension pursued by traditional culture and has the beauty of ancestral temple. As Fang Shuo said in the Qing Dynasty, "The first of the three monuments (Yi Ying) is square and thick, which is called the beauty of the ancestral temple and the wealth of hundreds of officials." Wang Ruolin's official history called him a hero of the former dynasty, and Weng's pavilion theory called him a man with equal flesh and blood and fluent writing style, and he was the most able to learn the law and deserved it. (Inscription of Pillow Sutra)
Secondly, from a technical point of view, the pen is Fiona Fang, with even and harmonious words and proper composition.
"Yi Ying Bei" is the acme of the complete standardization of the official script of Ba Fen, which fully embodies Han Li's style. Unlike Zhang Qianbei, his pen is not multifaceted, nor is it as round as Cao Quanbei. Instead, he cut Fang Bi to a piece of paper, and then turned the pen, which was both rigid and flexible. Graphic painting is the most obvious performance. As the most important performance feature of Han Li, wave plate painting is particularly prominent.
Its knot characters and strokes are evenly arranged, and the lines near Xiao Zhuan are covered with white, and the tightness has not changed much. The internal space of the characters is relatively uniform, and the strokes are evenly arranged around, unlike Shi Chenbei and Cao Quanbei who deliberately highlight the main strokes that have grown up.
Its composition, like many Han steles, is horizontal and vertical, and the word spacing is slightly larger than the line spacing. It looks like a forest.
Liang Bi said in Qing Dynasty: To learn official script, we should start with the Yi Ying (Pingshutie) tablet. "Yi Ying Bei" belongs to the fair standard in Han steles and is suitable for beginners. From Yiying to Li, you can pick up all the way on the left and Yayi on the right.