(1) The Ancient and Modern Law Bookstore quoted Cai Wenji as saying: "My father scored eight points, cut Li Cheng eight points, and cut Li Chuan two points." [ 1 1]
(2) Zhang Huaiguan in the Tang Dynasty quoted Wang Kun as saying: "Second, ancient books are widely used, and there are few waves. The junior high school was built with Cao Li as a model, with eight words and modular words. "
(3) Guo Zhongshu said in the Song Dynasty: "Books have eight styles, and Li is the eight styles in Korea and Cai Yong. After the eight styles were covered, this method was born again, which was called' eight styles' and similar. " . [ 13]
(4) Ouyang Xiu's Collection of Ancient Records in Song Dynasty was classified in Han Li [14].
⑤ In the Yuan Dynasty, I, Qiu Yan, wrote in "Learning Ancient Books": "Five words: eight points, eight points, Han Li does not choose the method. It is easier to know than Qin Li, but it is more like seal script than Han Li. If you make good use of seal script as Han Li character, you can get it. Eight points is no different from the Li nationality, so it is said. " [ 15]
6 Qing Weng Fanggang's Textual Records of the Han Dynasty (Volume 20) examines Li Bafen's eight points and says: "Those who are straight and can't go to Xiao Zhuan are also Li Ye. Because of the transfer, it is also eight points. " [ 16]
⑦ Xu Bangda said: "The articles of association are the words on the chapter. What we can see is the copy of River Street Table written in the 24th year of Jian 'an (AD 2 19), so it can be seen that the eight-point method should be this font. ".[ 17]
In the face of the above complicated statements, it is impossible to sort out the mess without the evidence of physical data. Judging from the chronological data of unearthed official script, the first statement is absurd. The wooden slips on the tomb name of Yinwan Han Tomb are quite regular, and they were written at the end of the Western Han Dynasty, so Cai Yong's theory of making eight is not in line with historical facts. The third argument "Cai Yong divided Li into eight parts, and this method was born after eight parts" is obviously unfounded speculation. The fourth statement says "Han Li" is "eight o'clock", so do Mr. Qi Gong and Mr. Qiu Xigui. As mentioned above, this does not distinguish Han Li from the eight-point book. The meanings and extensions of "Han Li" and "Eight Points" are not exactly the same. Han Li can include eight points, and conversely, eight points cannot include Han Li in a narrow sense. This statement cannot formally explain the font on the silver bowl wooden slips, so it is not accurate enough. The fifth statement seems to be eight points in Chinese, bronze and other fonts, which is extremely wrong. The seventh kind of thinking that "eight-point regular script" is regular script refers to Zhong You's regular script such as He Kai Biao. Mr. Xu thinks that the articles of association refer to fonts such as He Jiebiao. Whether his judgment is correct or not, we have not found such a font in the chronological data of unearthed official script, so there is no physical evidence for the theory of "eight points in regular script" The author thinks that only Wang Cheng's statement and Gao's statement are closer to the historical truth of stereotyped writing. After careful analysis, the two statements are basically the same. The key is how to explain the word "eight points". The author thinks that the word "Fang" here is a real word, that is, the "Fang" of the above-mentioned "eight characters", which should be understood as "the font is square and distributed left and right" This is the simplest and most accurate summary of the eight-point book. The same is true of the unearthed materials examined. For example, in The First Year of Five Phoenix, five horizontal paintings with the word "Year" and six horizontal paintings with the word "Phoenix" were sketched, horizontal and vertical, and only a wave tail was made at the end of the horizontal painting. This is exactly what Wang Wei said: "Ancient books are wide and few waves are the trend." However, the famous wooden slips in Yinwan are not. For example, the words "Tai" and "Shi" weaken the horizontal painting, exaggerate the selection and emphasis, and are symmetrically distributed left and right. The whole word is dignified and steady, and it is very accurate to describe it with the word "Fang Bafen". Its evolution process is just as Gao said: "The strokes are straight, but there are still small seals. Those who unload their burdens are also officials, and they are also plundered by officials, which is also eight points." Judging from the unearthed data, it is untenable to say that the size of the word "Fang Bafen" is exactly eight times that of the ancient ruler [18]. We can't tell which calligraphy style is "80%", even the ancient style of "eight points" is 80%. What we can see from it is the eight-character distribution of its glyph. First of all, we should distinguish the calligraphy meanings of Han Li and Bafen.
① On the pen: the difference between "arm transport" and "elbow transport"
In the previous article, the author identified Dingxian bamboo slips as a mature font, and Yinwan wooden slips as a mature font for stereotyped writing, which is now explained from the aspect of pen use. The author thinks that the Han bamboo slips in Dingxian county and the wooden slips in Yinwan belong to two brushwork systems, the former uses the "Li" method and the latter uses the "fen" method.
What is "Lee's Law"? As mentioned above, the brushwork of official script comes from the ancient carving method. Mr. Lu made an exhaustive study of the word "official" in the works of the two Han people, and finally came to the conclusion that the real meaning of the word "official" used by the two Han people is not the commonly understood "scribe" or "jailer", but refers to criminals, that is, criminals. Mr. Lu thinks that the name official script is posthumous title adopted by Ban Gu out of hatred for Qin Shihuang, because the Qin Dynasty actually unified the national characters with official script. [22] The author disagrees with Mr. Lu's conclusion, but Mr. Lu's textual research on "Li" has been recognized by academic circles as a prisoner or a slave. As mentioned above, Lishu and its brushwork originated in Qin Shu during the Warring States Period. Recently, when I was sorting out the newly unearthed bronze inscriptions, I came across the inscription "Gongmou" on the weapons made in Shang Jun County, Qin State, such as:
(Figure 13) In the twenty-four years, Shang Jun was the servant of Zang Zao, Gao Nugong, Shen Cheng and Gong Li Chenqu.
Cultural Relics ResearchNo. 12, Huangshan Bookstore, 65438+2000 10.
(Figure 14) In the twenty-five years, the county magistrate Zhou Zao was a slave worker and the Ministry of Industry was a minister.
Huaxia archaeology 199 1 3.
(Photo 15) In 38 years of the Republic of China, it was kept clean and made, (lacquerware),, and combined.
Cultural relics 1998 10.
There is no doubt that this font should be carved by these "workers". The inscription on this weapon is Qin Shu's eight-body "Shu Shu", [23] 1995, and the bronze ware of Shu Shu Shu Shu Shu Shu Shu, a girder of 19 years old, was found. ? The inscription can confirm:
(photo 16) in nineteen years, he created the long martingale, Zheng.
Archaeology and cultural relics, No.5, 1996.
The inscriptions on these weapons should be one of the earliest sources of official scripts. This kind of writing is carved, which takes a lot of effort, so it also forms a completely different method of holding a pen (knife) and lifting a pen (knife) from seal script. After repeated research and pondering, the author found that the power point of carving this kind of words is not in the wrist or elbow, but in the arm, and it is carved from left to right with the arm joint as the fulcrum, so its horizontal painting is often inclined to the right and down, which is the method of carving by Li people. The brushwork of official script comes from this method of holding and transporting the knife, so the horizontal painting of official script often leans down to the right until it reaches Han Li, but no matter how mature Han Li is, his "writing place" [24] is still on the left or left of the word, which is also the basis for the author to think that the Han bamboo slips in Dingxian County are Han Li's brushwork. Although the horizontal painting of the Han bamboo slips in Dingxian County is a little overwhelming, it still adopts the horizontal pad flat font as a whole. Dingxian bamboo slips also pursue a sense of symmetry, but not left and right symmetry, but up and down symmetry. For example, the upper two horizontal lines of the words "Wang", "Wu", "Tian" and "Ting" in [Figure17] [25] are slightly inclined upward and symmetrical with the wave tail of the lower horizontal line. Most of the horizontal paintings of Han bamboo slips in Dingxian County are slightly concave downward, such as the horizontal paintings of the words "Wang", "Wu", "Zhe", "Ma" and "Ke" in figure 17, which is the inevitable result of arm writing. Calligraphers He and Yi Bingshou in the Qing Dynasty were well versed in this method, and their books were vast, colorful, simple and noble, which was the inheritance of ancient Li and Gao.
What is the "dividing" method? Fen, Shuowen and Bieye, from eight to a knife, the knife is divided into things. "Eight", "Shuowen" and "Don't be like the opposite". From the meanings of "small", "occupation", "public" and "half" of "ba", we can see that "ba" is not a word problem, and the names of silver bowls are exactly the same, such as "Tai" and "Shi". The brushwork of "Eight Points" is related to and different from Xiao Zhuan [26], which is called "extension" and "collapse" in the history of books. Eight points of calligraphy are external expansion of Xiao Zhuan and internal collapse, from which the thousand-year brushwork is derived. Later calligrapher, Zhong You was good at expanding all the way, while the Right Army was good at expanding all the way. [27] However, whether it is the extension method or the internal method, the "writing place" of this brushwork is above the word, and the calligrapher completes it by moving his elbow. The extension method raises the pen from top to bottom, and the left and right sides are opposite. The inward bending method raises the pen from top to bottom and embraces the left and right sides. Mr. Shen summed up the brushwork of the right army as "turning left and right", which is really an unpublished theory.
(2) Structurally, there are two types: "flat-pull wide knot" and "oblique-pull tight knot".
Mr. Sha Menghai once concluded: "The structure of the North Monument can be roughly divided into two types: oblique tight knot and horizontal wide knot, and few people paid attention to it in the past. Zhang Menglong, Master Gen and Longmen are the representatives of the former. Diaobigan Wen, Mount Tai's Diamond Sutra and Tang Yong's Book of Songs are the representatives of the latter, which have inherited the official law and retained the official intention. The former is naturally formed by writing with the right hand, and this division has always influenced the Tang and Song Dynasties. Chu Suiliang and Yan Zhenqing belong to the latter, while Ou Yangxun and Huang Tingjian belong to the former. The Southern and Northern Dynasties are its starting point. [28]
Mr. Sha Menghai's theory of "two lines of structure" has never been published before, and is widely accepted by the calligraphy circle, which is the criterion for discussing the structure of calligraphy. It is quite reasonable for Mr. Sha to think that "flat painting and wide knot" inherits the official law. However, the author disagrees with Mr. Sha's statement about "oblique painting and tight knot". The author thinks that "oblique drawing tight knot" inherits the eight-point method, and "flat drawing wide knot" and "oblique drawing tight knot" are the differences between "holding the arm" and "holding the elbow" in the pen. Therefore, the author thinks that the starting point of the two-line knot should be the Han Dynasty, not the Southern and Northern Dynasties as Mr. Sha said.