What is the historical value of Cao Quanbei?

A Brief Analysis of Cao Quanbei and His Aesthetic Features; Li Shu began in Qin Dynasty and flourished in Han Dynasty. Especially in the Eastern Han Dynasty, stone inscriptions were the most developed, leaving many fine works of calligraphy art, among which Cao Quanbei is one of the most mature representative works of official script. The full name is Han Heyang Quanbei, also known as Cao Bei. This monument is 253cm high and123cm wide, and stands in the Eastern Han Emperor Zhong Ping II. Monument to Yang Fan has 20 lines, each with 45 words; There are five rows of stone tablets, one row above, two rows of twenty-six, three rows of five, four rows of seventeen, five rows of four. This monument has no forehead. It was unearthed in xinli Village, Heyang County, Shaanxi Province during the Wanli period of the Ming Dynasty, and is now in Xi 'an Forest of Steles in Shaanxi Province. In the 11th year of Emperor Kangxi of Qing Dynasty, cracks appeared in the tablet. Judging from the rubbings, Cao Quanbei's handwriting is well preserved. Although the wind loss is not great, the outline of the font and the beginning and end of the strokes are still clear, which undoubtedly provides great convenience for future generations to learn. Cao Quanbei, as a representative work of mature official script in the Eastern Han Dynasty, has a high position in the minds of scholars and calligraphy critics in past dynasties. In Qing Dynasty, Sun Chengze praised him as a "treasure in Han stone" and "elegant and graceful, which reflected before and after the ceremony monument". Wan Jingping Qi said: "Beautiful flying, no binding, no rushing, is also a wonderful product." On the other hand, Mr. Kang Youwei of Nanhai thinks that he and Confucius tablet are "one family" and "both win from the wind". Xu Shujun said in "Inscription and Postscript of Bao Yazhai" that his calligraphy of "Yin Bei" is "interesting and worth enjoying". From the previous comments, we can see that the most striking aesthetic features of Cao Quanbei are elegance and quietness. Compared with the rough Han stele of his contemporaries, if a gentleman with graceful demeanor has a high level of self-cultivation, his personality is neither violent nor violent, fair and peaceful, which conforms to the norms and floats away, in stark contrast to the style of the inscription that pursues truth and simplicity. Cao Quanbei's elegant and quiet aesthetic features can be roughly understood from the following aspects: 1. Pure use of a round pen implies meaning. There are roughly three kinds of calligraphy methods. The first category is Fang Bi, which is more common in inscriptions. Because seal cutting, the beginning and end of strokes are mostly square, and later generations write with the square corner of the knife mark as beauty, just to pursue a strong and ruthless aesthetic effect. Most of the Han monuments, such as Zhang Qianbei, belong to Fang Bi. The second type is a round pen, in which the strokes start and end in a round shape, and the strokes are mainly centered. The third category is the combination of Fiona Fang. In the works of past dynasties, brushwork was mostly combined with Fiona Fang: some were mainly Fiona Fang, supplemented by round pen; Some are mainly round pens, others are Fang Bi. Judging from the complete rubbings, Cao Quanbei's brushwork is basically round. The round pen is gentle and subtle, which is the key to Jing Ya's artistic effect. Second, the writing is smooth and supple. Due to the provisions of the basic structure of official script, its lines should not be as ups and downs as cursive script, which leads to the quiet nature of official script. However, Li Shu's artistic effect is different, because their brushwork is different, and both of them are mainly static. The ups and downs are obvious, such as Ode to Shimen, which is unrestrained and elegant. Cao Quanbei, on the other hand, has a smooth and meticulous brushwork, and every stroke is in the trajectory of strokes. The strokes are plain and smooth, without too many ups and downs, which makes the lines more introverted. It has a sense of movement, mostly caused by some longer arcs, such as the arc potential of skimming, pressing, hooking and crossing, so it is tangible and interesting. Smooth and firm lines are another important reason why Cao Quanbei is elegant and quiet. Third, the lines are concise and concise. The lines of the Han tablet have different aesthetic characteristics, such as rough, smart of Shimen ode, rich of Yiying tablet, delicate tablet, lingering in the north of the summer city, but simple and simple. Looking at the characters in the monument, there are no traces of modification in the lines, which are often passed over and come to an abrupt end in unexpected places. Many points and short lines are concentrated as much as possible, and many numbers are disconnected at the junction of the upper and lower pens, leaving more gaps. However, its brushwork is not blocked by the simplification of strokes at all, but appears more harmonious and natural, and the space is more harmonious and quiet, which makes it stand out from other Han steles. Fourth, the structure is stable and uniform. Most of Cao Quanbei is flat, and a few are square or rectangular. Because of its flat shape, it must be horizontal, so it has a sense of stability. Horizontal and horizontal pictures are mainly caused by the main horizontal picture of words being elongated or left-handed. Compared with the ceremony monument, the structure of Cao Quanbei is more unified. This is not because Cao Quanbei is more standardized or evenly arranged than the tablet of rites (in fact, the tablet of rites may be more regular than Cao Quanbei in terms of the unity of words), but because of the flattening of Cao Quanbei and his structure, the relationship between up, down and left is more natural and reasonable. Therefore, Cao Quanbei is more elegant and has a higher style than Li Qibei and Zhang Jingbei. Its shape is flat, which leads to stretching left and right. The stretched structure is combined with the convergence of the round pen, so the elegant character appears. Therefore, when we study Cao Quanbei, we should not only grasp the basis of writing and writing, but also grasp it from the perspective of interest. On the other hand, only with a high-level understanding of Cao Quanbei, can we better understand or dissect its basic techniques, and thus enter the state of learning books with both form and spirit. The author has a little experience on the miscellaneous pens of "The Book of Songs" without being superficial, and attached the writing method of tying the knot with the pen to attract jade, so as to be realistic to the Fang family and literati.