Publisher Xiling Yinshe Publishing House ISBN 7805 1726 25
Publication date July 2004 16th edition Edition 1-5
Contents
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Elegance and tranquility come out——
A rough analysis of "Cao Quan Stele" and its aesthetic characteristics
Rubbings of "Cao Quan Stele"
Illustration of the basic writing techniques of "Cao Quan Stele"
Illustration of the structure of "Cao Quan Stele"
A rough analysis of "Cao Quan Stele" and its aesthetic characteristics Official script began in the Qin Dynasty and flourished in the Han Dynasty. Especially in the Eastern Han Dynasty, stele inscriptions were the most developed, leaving behind many fine works of calligraphy art. Among them, the "Cao Quan Stele" can be said to be one of the most mature representative works in the development of official script. The full name of the "Cao Quan Stele" is "Han Heyang Order". "Cao Quan Stele", also known as "Cao Jingzong Stele", is 253 cm high and 123 cm wide. It was erected in October of the second year of Zhongping, Emperor Ling of the Eastern Han Dynasty (AD 185). There are twenty rows in the upper part of the stele, each with forty-five characters; five columns in the lower part of the stele, one row in the upper column, twenty-six rows in the second column, five rows in the third column, seventeen rows in the fourth column, and four rows in the fifth column. This monument has no forehead. It was unearthed in Xinli Village, Heyang, Shaanxi Province in the early years of Wanli in the Ming Dynasty. It is now in the Forest of Steles in Xi'an, Shaanxi Province. Eleven years after the reign of Emperor Kangxi of the Qing Dynasty, cracks appeared on the monument. Judging from the rubbings, the handwriting of "Cao Quan Stele" is relatively well preserved. Although there is little wind damage, the outline of the characters and the beginning and end of the strokes are still clear. This undoubtedly provides great convenience for future generations to practice as the Eastern Han Dynasty. The representative work of the mature period of official script, "Cao Quan Stele" has a high status in the minds of scholars and calligraphy critics of the past dynasties. Sun Chengze of the Qing Dynasty praised it: "The calligraphy is elegant and graceful, and it is elegant and reflects the front and rear of the "Liturgical Stele", which is "a treasure among Chinese stones." Wan Jingping said: "It is beautiful and flying, not restrained, not galloping, and it is a divine product." Mr. Kang Youwei of Nanhai believed that it and the "Kong Zhou Stele" were "family members", and "both were won by the wind god's ease". In his "Inscriptions and Postscripts of Baoya Zhai", Xu Shujun said that the calligraphy on the stele Yin has "a deep and profound flavor, which is particularly durable for appreciation". From many previous reviews, we can see that the most significant aesthetic feature of "Cao Quan Stele" is its elegance and tranquility. Compared with the rough Han Dynasty stele at the same time, the "Cao Quan Stele" is like a handsome gentleman with extremely high cultivation. His personality is neither exciting nor inspiring, upright and peaceful. "Moving the Monument" and other monuments, which pursue authenticity, simplicity and simplicity, form a sharp contrast. The elegant and quiet aesthetic characteristics of "Cao Quan Stele" can be roughly understood from the following aspects: 1. The pure use of round pens, with implicit meaning. There are roughly three types of calligraphy brush methods. The first type is the square pen, which is more common in inscriptions. Because of the engraving, most of the strokes start and end in a square shape. Later generations used the square corners of the knife marks as the beauty of their writing, pursuing the resulting strong and rugged aesthetic effect. Most of the Han steles such as "Zhang Qian Stele" are written in square strokes. The second type is the round pen, where the strokes start and end in a round shape, and the strokes are centered. The third category is the combination of square and circle. Most of the works in the past dynasties use a combination of square and round strokes: some mainly use square strokes, supplemented by round strokes; some use mainly round strokes, and both square strokes. Judging from the complete rubbings, the brush used in "Cao Quan Stele" is basically a round brush. The round pen is gentle and subtle, which is the key to the quiet and elegant artistic effect of this monument. 2. The brush strokes should be smooth and smooth. Due to the prescribed basic structure of official script, its lines must not be as ups and downs as cursive script, which results in the quiet nature of official script. However, both are official scripts that focus on tranquility. Due to the different writing methods, the artistic effects are also different. Those with obvious ups and downs, such as "Ode to the Stone Gate", are unrestrained and elegant; while "Cao Quan Stele" His strokes are smooth and slow, meticulous, and the strokes are always in the middle of the stroke. The strokes are smooth and not slippery, without excessive ups and downs, making the lines more restrained. The dynamic feeling it possesses is mostly caused by some long arc-shaped lines, such as the curves of skidding, twisting, hooking, and horizontal overhanging, etc., so it has a graceful and elegant shape and meaning. The smooth and soft lines are another important reason for the elegance and tranquility of "Cao Quan Stele". 3. The lines are concise and simple, and the meaning is perfect. The lines of Han steles have different aesthetic characteristics, such as the roughness of "Zhang Qian Stele", the agility of "Ode to Shimen", the plumpness of "Yiying Stele", the fineness of "Zhang Jing Stele", and the delicate texture of "Xia Cheng Stele". Lingering..., "Cao Quan Stele" is concise and simple. Looking at the characters in the stele, there is no sign of decoration in the lines. They often start out in one stroke and then stop abruptly at an unexpected position. Many dots and short horizontal strokes should be condensed as much as possible, and most numbers should be disconnected at the junction of the upper and lower strokes, leaving more white space. However, its brushwork is not blocked by the shortened strokes at all. Instead, it appears more coordinated and natural, and its space is more rounded and quiet, making it stand out from other Han dynasty steles.
4. The structure is stable and evenly mixed. The "Cao Quan Stele" is mostly flat in shape, and a few are square or rectangular. Because of its flat shape, it is bound to be horizontal, so it feels stable. The flat and horizontal shape is mainly caused by the elongation or extension of the main horizontal stroke of the character. Compared with the "Ritual Stele", the structure of "Cao Quan Stele" appears to be more even. This is not because the "Cao Quan Stele" is more standardized or evenly arranged than the "Cao Quan Stele" (in fact, judging from the evenness of the knots, it may be that the "Cao Quan Stele" is more regular than the "Cao Quan Stele"). It is because of the flat structure of "Cao Quan Stele" that the relationship between top, bottom, left and right is handled more naturally and rationally. It is precisely because of this that the "Cao Quan Stele" appears to be quieter and more elegant than the "Ritual Stele" and "Zhang Jing Stele", and is a step ahead in style. The shape of the font is flat, resulting in stretching on the left and right sides. The stretched structure combined with the convergence of the round pen creates an elegant character. Therefore, when we study "Cao Quan Stele", in addition to starting from the basic pen and word knotting, we should also grasp it from the taste. On the other hand, only by having a high-level understanding of "Cao Quan Stele" can we better understand it. Understand or dissect its basic techniques, so as to enter the state of studying books with both form and spirit. The author is not superficial, but has compiled a summary of his experience from the "Cao Quan Stele", and appended the writing and knotting techniques at the end, in order to attract others and seek correctness for the Fang family and scholars.
——Introduction to Jin Zheng's Official Script: Cao Quanbei
Basic Information
Author Duan Qingfeng Editor-in-Chief
Publishing House Xiling Seal Publishing House Publication No. 7805 1726 25
Publication date July 2004 16th edition Edition 1-5
Contents
Part 1 of single-character characters and basic strokes< /p>
The second part of combined characters and basic radicals
The third part of the work style and composition
Introduction to the basic knowledge of creation
The fourth part " Introduction to the original selection of "Cao Quan Monument"
The textbook is divided into four parts. Part One: Single-character characters and basic strokes. Part 2: Combined characters and basic radicals. Part Three: Style and composition of the work. Part Four: Original rubbings of "Cao Quan Stele". The content progresses from shallow to deep, allowing students to gradually appreciate the charm of official script and master the techniques of official script, thereby reaching the level of independent creation of calligraphy.
This textbook pays special attention to the principles of relaxed and pleasant teaching, integrating knowledge and fun. Along with each lesson, other knowledge about calligraphy is also introduced. For example, the common knowledge about learning calligraphy includes the introduction of China’s Four Treasures of the Study, the introduction of masters of official script in the Qing Dynasty and modern times, the characteristics of various calligraphy styles, stories about calligraphers and the origin of the name of official script, common calligraphy terms, etc., to enrich the content. , meeting the needs of learners at different levels.
This textbook also strengthens the editing content. From the development and argumentation of the topic, the writing of the outline, the selection of the copybook version, the design of the cover and layout, etc., we actively seek advice from experts and strive to provide the best quality to readers. This textbook focuses on making the basic techniques comprehensive, microscopic, concrete, and highly operable. The selected examples are highly targeted, and the accompanying explanations are concise, not complicated, and to the point. In addition to the above features, this textbook also comes with a targeted exercise book, which gives beginners a large space to practice, a basis for practicing, and they do not feel empty and monotonous, and their interest in learning is doubled. About the author
Duan Qingfeng was born in Beijing and graduated from Capital Normal University with a bachelor's degree in calligraphy. He studied under the calligraphers Bu Xiyang, Fan Tianming, Gan Zhongliu, Zhong Peigui and other calligraphers.
In 1998, his works were selected for the 4th Beijing Seal Engraving Exhibition and the 1st Beijing Engraving Exhibition. Has rich experience in calligraphy teaching. In 1999, he participated in the filming of a writing instructional film produced by China Educational Television and was one of the lecturers. The film was broadcast nationwide on the satellite channel of China Educational Television. In 2003, he participated in the research on the writing teaching project of the Institute of Basic Education, Beijing Academy of Educational Sciences. Author and Editor
Publisher Shanghai Painting and Calligraphy Publishing House
Published on 2000-8-1
Content Introduction
"Cao Quan Monument" ", whose full name is "The Monument of Cao Quan of the Order of Han Heyang", was erected in the second year of Zhongping in the Eastern Han Dynasty (185). It has 20 lines of official script and 45 characters. The stele is still intact. The existing Forest of Steles in Xi'an, Shaanxi Province. The brush used on this stele is steady, the posture is open and beautiful, and the brush strokes are both square and round, with the main strokes being round. The essence is contained, the softness is strong, and the silkworm head and wild goose tail are particularly prominent. Its wave method is similar to that of "Ode to the Stone Gate" There are different approaches but the same effect.
This stele has been highly praised by calligraphers since it was unearthed in Heyang in the early Wanli period of the Ming Dynasty. Wanjing of the Qing Dynasty commented on this stele: "It is beautiful and flying, not restrained, not galloping, and it is a pure and divine quality." ] Sun Chengze of the Qing Dynasty commented: "The calligraphy is elegant and graceful, and it is elegant and reflects the "Ritual Vessel Stele" before and after. It is also the most precious treasure among Han stones. ] Fang Shuo of the Qing Dynasty commented: "This stele is not different from "Yi Ying", but it is directly consistent with "Han Chi". The main text and the yin side are in one hand. The upper part is connected with the "Yougu" and the bypass Zhang Cao. The lower part is the regular script of Wei, Qi, Zhou, Sui, Ou and Chu. It is really a key to calligraphy through the ages. ] Author Wu Daoxiang Compiled
Publisher Hunan Fine Arts Publishing House
Published on 2006-7-1
Contents
Chapter 1 Overview
Chapter 2 Strokes
Chapter 3 Radicals
Chapter 4 Structure
Chapter 5 "Cao Quan Stele" The structural characteristics of "Cao Quan Stele" (Partial) Introduction
"Cao Quan Stele Official Script Tutorial" is a popular, practical, entry-level calligraphy course written by famous calligraphers from the front line of teaching. Technique book. It is suitable for teaching in primary and secondary schools and calligraphy schools, and is also a guide for calligraphy enthusiasts.
This book starts from practicality, focuses on basic learning, and encourages creation. The official script part of the book is based on the original rubbings of Cao Quan's stele. After screening, classification and special technical processing, it was translated into ink and matched with rice characters to help readers deeply understand and master the glyph structure and stroke positioning. . This book is rich in content, systematic and comprehensive, and is a summary of the author's long-term teaching experience. Through the study and use of this book, we believe that calligraphy enthusiasts will lay a good foundation in the process of stepping from entry to calligraphy creation. About the author
Wudaoxiang was born in Changde, Hunan in 1945 and died of illness in Changsha, Hunan in 2005. During his lifetime, he was a member of the Hunan Provincial Calligraphers Association, the vice chairman of the Hunan Provincial Calligraphy Professional Committee, and the chairman of the Changsha Calligraphy Education Research Association.
Wudaoxiang has been fond of calligraphy, painting, poetry and prose since he was a child. He advocates learning calligraphy in an eclectic way, learning from many teachers, and striving for innovation on the basis of tradition. He is especially accomplished in regular script. In his early years, he learned regular script from Wang Xizhi and Zhao Mengfu, and his pens were round and beautiful, and he has since laid a solid foundation in traditional calligraphy. Later, he went to seek the source and transferred to study Yan Zhenqing, Mi Fu, Wei Stele and Seal Script. Xing and regular script both use Yan and Mi, and refer to the brushstrokes of Wei stele, forming a style of vigorous and vigorous brushwork, with ups and downs without losing the beauty. The official script combines "Zhang Qian" and "Shimen", and integrates "Cuan Baozi" and the running script style. It is like official script and Wei Dynasty. The strokes are connected or broken, smooth and powerful. He is good at composition and layout, and his works are full of variety. He has participated in many major exhibitions across the province and at home and abroad. His works are either collected at home or abroad, or engraved on stone and displayed on the poetry wall of the Forest of Steles.
In the past twenty years. Wu Daoxiang is committed to calligraphy education and has made certain contributions in cultivating the next generation of calligraphy talents and inheriting and prospering traditional calligraphy. He has edited the calligraphy textbook for primary and secondary schools in Hunan Province four times, and this textbook has been designated as a compulsory textbook for primary and secondary school students in Hunan Province. His students have frequently won awards in national and international calligraphy competitions. Their works have participated in foreign cultural exchange activities organized by the Ministry of Culture, or have been collected by the National Museum, and many of the students have joined provincial and municipal calligraphers associations. At the same time, he also conducted in-depth discussions on the theory of calligraphy. On the basis of summarizing the practice of calligraphy, he eliminated the rough and selected the essence, and published "Introduction to Regular Script" (Ou, Yan, Liu, and Zhao Ti), "Introduction to Calligraphy Creation", and "Guide to the Creation of Regular Script Works" " and "Introduction to the Wei Stele", "Yan Zhenqing's Qinli Stele Collection of Words, Couplets, and Poems", "Liu Gongquan's Mysterious Pagoda Stele Collection of Words, Couplets, and Poems" and other books. Among them, "Introduction to Regular Script" (Liu style) has been well received by readers at home and abroad. This book has become a best-seller in the field of Chinese calligraphy.