Song Xuanhe's Book Score: "In the early Han Dynasty, Wang Cizhong began to use official script as regular script." People think that regular script evolved from official script. It is said: "On the tomb of Confucius, a regular script tree planted by Zi Gongzhi has straight and unyielding branches." The strokes of regular script are concise and refreshing, and must be like the branches of regular script trees.
In the early days, there were few official handwriting, the structure was slightly wider, the horizontal painting was long and the vertical painting was short. In Wei Jinzhong handed down from ancient times, such as Zhong You's "Declaration Form" (left), "List of Recommended Seasons", Wang Xizhi's "Le Yi Lun" and "Huang Ting Jing" can all be regarded as representative works. Look at its characteristics, as Weng Fanggang said: "Change the wave painting of official script, pick it up, and still keep the vertical of official script."
After the Eastern Jin Dynasty, the north and the south were divided, and calligraphy was also divided into two factions. The calligraphy style of the Northern School has inherited the legacy of Han Li. Its brushwork is simple and rigorous, but its style is simple and rigorous, so it is called "Weibei". Southern calligraphy is more sparse and beautiful than letters. During the Northern and Southern Dynasties, because of regional differences, personal habits and book styles were very different. The books in the North are strong and the books in the South are rich, each of which is wonderful and inseparable, while Bao and Kang Youwei highly admire the books of the two dynasties, especially the epitaphs of the Northern Wei Dynasty. Kang cited ten beauties to emphasize the advantages of Weibei.
Regular script in the Tang Dynasty, like the prosperity of the national situation in the Tang Dynasty, is really unprecedented. Calligraphy style is mature, and calligraphers come forth in large numbers. In terms of regular script, Yu Shinan, Ou Yangxun, Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty and Liu Gongquan in the late Tang Dynasty all valued their regular script works and regarded them as models of calligraphy.
In ancient times, there was a saying: "Learning calligraphy must start with the pattern, and writing must start with the big characters. Chinese characters are based on face, Chinese characters are based on Europe, Chinese characters are ripe, and then they are gathered into small characters, taking Zhong Wang as the method. " However, according to the results of many years of experimental research, it is not appropriate for beginners to learn too big words first, but it is more suitable for Chinese letters.
The regular script of Ou Yangxun, Yu Shinan and Chu Suiliang, three great calligraphers in the early Tang Dynasty, is the most suitable model for copying Chinese characters. This is a simple introduction as follows:
Regular script, which originated from ancient Li, is based on the style of two kings and the style of northern school in the Six Dynasties. They are unique in structure, unique in originality, authoritative and influential in society, and are the standard for learning books. Investigating the characteristics of regular script, the pen is strong and powerful, the strokes are neat and tidy, and the structure is cheerful and healthy. His representative works of regular script inscriptions include "Jiuchenggong Liquan Ming" and "Huadu Temple Monument".
Yu Shinan's regular script, elegant and graceful, inherited the legacy of the wise and brave Zen master and was the clique of the Wang school. Although it originated in Wei and Jin Dynasties, its softness on the outside and rigidity on the inside swept away the cowardice of Wei and Jin calligraphy style. His masterpiece in regular script is Confucius Temple Monument.
Chu Suiliang's regular script is famous for its sparseness and strength. Although he is the ancestor of the right army, he can win its charm. Its font structure seems very bold and unrestrained, but it can skillfully reconcile the quiet style and create an unprecedented situation. His masterpiece in regular script is Preface to the Sermon of Yanta.
Lower case, as the name implies, is the lower case in regular script, which was founded by Zhong Yao in the Wei Dynasty of the Three Kingdoms. He is the most outstanding authoritative official script master, and his regular script style is also born out of Han Li, and his brushwork is very vivid. However, the structure is wide and flat, the horizontal painting is long and the vertical painting is short, and the legacy of official division still exists. However, the model method is ready, and it is actually the ancestor of the official book. When Wang Xizhi came to the Eastern Jin Dynasty, he studied the lower case calligraphy more carefully and made it perfect, which also set a good appreciation standard for China's lower case calligraphy.
Generally speaking, writing small characters is very different from writing big characters. In principle, writing big characters should be close and seamless, and writing small characters should be more spacious. In other words: writing big characters should be as accurate as writing small characters; Writing small characters is as cramped as writing big characters, so the ancients said, "Writing big characters should be like small characters, and writing small characters should be like big characters." In Su Dongpo's prose, there is a saying that "the big characters are hard to be seamless, and the small characters are hard to be generous". How do you say these words? Because when we usually write big characters, we think that our position (area) is very wide and we can write freely. As a result, the fonts become loose and empty. Writing small print is just the opposite, because the space is too small, and it is inevitable that you will try your best to shrink it if you are worried that you can't write it. It tends to curl. This is a natural psychological phenomenon, which is easy to break. Therefore, the CPSU's statement that "size is indistinguishable" is based on this statement and is an empirical talk.
There is not much difference between the center of gravity of writing fine print and the coordination of strokes. As for the pen, it is slightly different. Small print should be round, beautiful, straight and neat; Big characters should be magnificent and heavy. Use the back front (hidden front) to write big characters and the back front to receive pens; You don't have to use sharp edges to write fine print, but use sharp edges to collect pens. For example, when writing a horizontal line, the pen is pointed or pointed, and the pen is round; Write vertically, start or pause, and receive the pen sharply; Skimming the pen to make it fat: hold the pen to make it fat, and at the same time bend slightly from left to right, with vivid and emotional strokes; Point should be sharp and round, pick should be sharp and sharp, bend inside and outside, and hook should be half bent and half straight. The pen is flexible and limitless. In particular, the whole word should be written in different strokes, but in harmony. A line of words is patchwork, but it has always come down in one continuous line. If there is, it will naturally run through and look like a pearl necklace.
Fine print is a necessary calligraphy for daily use in ancient times. In the past, people who took part in the imperial examination mostly read the words first and then the articles. No matter how good the writing is, the article will be affected. He is the top scholar in the imperial examination and an academician, especially paying attention to calligraphy. So every scholar and Hanlin's fine print is exquisite. Generally reading, they are also good at writing small characters. Hard pen is popular now, and few people write small words with a brush. But writing small words with a hard pen can get twice the result with half the effort. Therefore, if you want to write hard pen, you might as well find a good fine print and practice it. Will certainly lay a solid foundation, lifelong benefit, inexhaustible.
There are many copybooks in small letters, among which the reputation of small letters in Jin and Tang Dynasties is the most prominent. These books usually include Wei Shizhong's Announcement Post and Ji Zhi Biao, Wang Xizhi's On Music and Yi, North's Huang Ting Jing, Luo Shen Fu Thirteen Lines, Tang Zhong Shaojing's Ling Fei Jing and so on. There are also ink photocopies of works in lower case such as Yuan Zhao Mengfu, Ming Wang Chong and Zhu Yunming, which are also good examples.
Zhong You's calligraphy style is simple, but none of the handed down works "Declaration Form" and "Recommended Season Table" are true, and most of them are handed down or temporary works by later generations. Appreciating a good copy, you can imagine its quaint style. official script
The origin of compiling this official script-Qin official script
In the process of "writing in the same language", Qin Shihuang ordered Li Si to create Xiao Zhuan, and also adopted the official script compiled by Cheng Miao. Xu Shen of the Han Dynasty recorded this history in Shuo Wen Jie Zi: "... Qin burned books, purged the old people, officers and men made outstanding contributions, were promoted to military service and defended, and there were countless officials and prisons. At first, it was an official script, for the convenience of agreement. " As an official script, Xiao Zhuan's writing speed is slow, which turns official script into a square fold and improves writing efficiency. Guo Moruo used "the greater achievement of Qin Shihuang's reform of writing was the adoption of official script" to evaluate its importance (the development of the debate on ancient Chinese characters in the slavery era).
Official script is basically evolved from seal script, mainly changing the round strokes of seal script into square folds, which makes writing faster, and it is difficult to draw round strokes when writing with pigments on wooden slips.
Edit the outline of this official script.
Regarding the definition of official script, Mr. Wu, a close friend, said in the article "Looking at the official script in the early Qin and Han Dynasties from the unearthed silk slips of Qin Dynasty": "It can be explained by the original meaning of this word. Shuo Wen Jie Zi explains that Li means "attached", while The Biography of Feng Yi in the Later Han Dynasty teaches it as "subordinate", which is still in use today, and there is the word "subordinate" in modern Chinese. The Book of Jin, Wei Hengzhuan, Shuowen Jiezi Preface and paragraph notes all think that official script is inferior to Sasuke Zhuan, so official script is an auxiliary font of Zhuan Zhuan. "
Secondly, what is ceremony? What is the strict difference between ceremony and seal script? Mr. Wu has done some analysis in the above article, and here are some small paragraphs worth considering. Wu Yun:
"Xiao Zhuan also retains the meaning of pictographs to draw its finished products; Lishu went a step further, breaking the knot of pictographs with stroke symbols and becoming pictographs without pictographs "(see the original text, for example).
He added, "seal script and official script are actually two systems, marking two main stages of the development of Chinese characters. Xiao Zhuan is the end of ancient pictographic characters, and Lishu is the beginning of new writing that turns pictographic characters into strokes. " ...... "When we judge whether a font is an official script, we must first see whether it destroys the structure of seal script and loses the original intention of pictograph." (Press: I added the following key symbols)
After careful parallel research, Mr. Wu has come to such a scientific argument, which is naturally worthy of attention as an academic division of different names of seals and official seals. However, I still have two questions to ask, that is, first, seal script can't be all pictographs, and there are many characters other than pictographs from the beginning. Therefore, it seems not enough to just lose the original meaning of hieroglyphics. What I mean is that Li's destruction of ancient Chinese ("pictograph" is the general name of a font, but the facts are not all "pictograph", and there are many examples, so I don't need to list them one by one) is not just the destruction of pictograph. Secondly, in Qin bamboo slips unearthed in Yunmeng, Hubei Province and silk slips unearthed in Mawangdui, Changsha, Hunan Province, it is found that the structure of characters has changed and has not changed. What's the name of a word with a circle and a rectangle? This kind of "semi-seal script and semi-official script" still existed from the reign of Qin Zhaoxiang to the early years of the Western Han Dynasty (Qin Yunmeng's bamboo slips to the silk script of Han Ma Wang Dui, Wu Wenyou can refer to it in detail). Before the first emperor, there was no difference in the word "Ti", but by the early Han Dynasty, it was certain that the word had been classified as official script. Considering the two together, is there any contradiction between the names of Mr. Wu's different seal scripts? In fact, the change of structure, just saying that pictographs are not pictographs, is definitely not comprehensive enough. I estimate that the problem of distinguishing at that time-when the font was just changed, most people would definitely not be too strict, and the "bat-shaped" font was mostly named after a new name-was also called Li, and it was possible to keep some old structures. So I think it is not surprising that if we put ourselves in the position at that time to speculate on naming, there is a certain distance from the naming distinguished by academic research today. Specifically, in addition to changing images into symbols, there are also differences in brushwork changes, such as: Sheng (seal), Shang (changing brushwork without changing structure) and Zhi (completely changing brushwork structure). The similarities and differences between the names of the three characters are by no means a single theoretical structure, and there are many other similar situations that can be compared.
Since the mid-Western Han Dynasty, an independent official script form without seal script (including structure and strokes) has been completely formed. Typical examples are the inscriptions on lacquer boards unearthed from the Han tombs in Le Lang in the first year of Xuandi Wufeng in the Western Han Dynasty (the first 57 years), Chengdi Heping (the first 28 years), Tianfeng, the first year of the founding of the People's Republic of China (14 years), the fourth year of Pingdi in the Western Han Dynasty (4 years) and the twelfth year of Yongping in the Eastern Han Dynasty (69 years).
Similar glyphs can also be seen in many inscriptions in the Eastern Han Dynasty. The most famous monuments are Huashan Temple Monument in the eighth year of Yan Xi (165), Shi Chenbei Monument in the second year of Jianning (169), Cao Quanbei Monument in the second year of Zhong Ping (185) and Huashan Temple Monument in the third year (186).
At the same time, there are also some fonts in the inscriptions of the Western Han Dynasty, which are mostly square in area or have a few long characters with only a short wave potential. Their representative views are as follows: the carved stone of Lu in the second year of Wufeng in the Western Han Dynasty (the first 56 years), the memorial tablet of Sangong Mountain in the fourth year of Andi in the Eastern Han Dynasty (1 17), and the above-mentioned "regular script" in the second year of Yonghe (the second year) have basically eliminated the seal script, but the form is slightly different, which has been popular between Han and Three Kingdoms. In recent years, the epitaph of Xie Kun in the Eastern Jin Dynasty was unearthed in Nanjing, Jiangsu Province, and this font can still be seen in use today. This font should be said to be official, because its form has changed from Qin to Han, but it is not too big. In terms of the area of the glyph, it is rectangular first, then flat, and some places are still crossed. Long wave and short wave also cross each other. Therefore, it must not be said that one font has completely become the old and new body of another font, but the individual quantity change of one font in the middle of the front and back.
Source and name
Official script is basically evolved from seal script, mainly changing the round strokes of seal script into square folds, which makes writing faster, and it is difficult to draw round strokes when writing with pigments on wooden slips.
Official script is also called "official character" and "ancient book". It is a font produced on the basis of seal script to meet the needs of convenient writing. The seal script is simplified, and the uniform circle lines of the seal script are changed into straight strokes, which is convenient for writing. Official script can be divided into "Qin Li" (also called "Guli") and "Han Li" (also called "Golden Calendar"). The appearance of official script is a great change in ancient writing and calligraphy.
Official script is a common solemn font in Chinese characters, with a slightly flat writing effect, long horizontal drawing and short straight drawing, and pays attention to "swallow tail of silkworm head" and "twists and turns". It originated in the Qin Dynasty and reached its peak in the Eastern Han Dynasty. Calligraphy is known as "Han Li Tang Kai". It is also said that official script originated in the Warring States period.
Official script is relative to seal script, and its name originated from the Eastern Han Dynasty. The appearance of official script is another great change of China characters, which brings China's calligraphy art into a new realm, is a turning point in the development history of Chinese characters, and lays the foundation for regular script. Official script is flat, neat and exquisite. In the Eastern Han Dynasty, stippling such as skimming was beautified as upward provocation, with different degrees of severity and artistic beauty of calligraphy. Styles also tend to be diversified, which is of great artistic appreciation value.
According to legend, the official script was compiled by Cheng Miao who was not in the prison of Qin Dynasty. By eliminating complexity and simplifying, the font becomes round and square, and the strokes become straight. Change "Lian Bi" to "broken pen" and change from line to stroke, which is more convenient for writing. "Li Ben" is not a prisoner, but a petty official, that is, a small official in charge of documents, so in ancient times, official script was called "Zuo Shu". Lishu prevailed in Han Dynasty and became the main style of calligraphy. As a start-up Qin Li, seal script has many meanings, and it has been continuously developed and processed. It broke the writing tradition since the Zhou and Qin Dynasties and gradually laid the foundation for regular script. Under the unification of the thought of "ousting a hundred schools of thought and respecting Confucianism alone", the official script of the Han Dynasty gradually developed into the dominant script, and at the same time, cursive script, regular script and running script were derived, laying the foundation for art.
Development of official script
In the past, it was generally believed that the origin of official script was "playing many things, but it was difficult to seal, that is, official script was called official script". However, it has recently been pointed out that the word "Li" also means "affiliated" and may be a derivative of seal script.
Li Qin
In the process of "writing in the same language", Qin Shihuang ordered Li Si to create Xiao Zhuan, and also adopted the official script compiled by Cheng Miao. Xu Shen of Han Dynasty recorded this history in Shuo Wen Jie Zi: "... Qin burned books, purged the old people, officers and men made outstanding contributions, were promoted to military service and defended, and there were countless officials and prisons. At first, it was an official script, for the convenience of agreement. " As an official script, Xiao Zhuan's writing speed is slow, which turns official script into a square fold and improves writing efficiency. Guo Moruo used "the greater achievement of Qin Shihuang's reform of writing was the adoption of official script" to evaluate its importance (the development of the debate on ancient Chinese characters in the slavery era).
Hanshu (a popular writing form in Han Dynasty)
At the beginning of the Western Han Dynasty, Qin Li's style was still used, but it began to change greatly in the Xin Mang period, resulting in the writing method of stippling. By the Eastern Han Dynasty, Lishu had produced many styles and left a large number of stone carvings. Zhang Qianbei and Cao Quanbei are the representative works of this period.
Han Li has the beauty of waves and strokes. The so-called "wave" is that the left line of the stroke is like a meander, and it becomes left in the later regular script; The so-called "stroke" only opens the right pen, which looks like a "dovetail" pen. When writing a long horizontal line, the pen begins to cut into the "silkworm head" facing the front, with the pen in the middle having a wave distance and a tail at the end. In this way, in the use of pens, the methods of square, round, hiding and revealing are readily available, and the pen gesture is flying and elegant. Structurally, there is a vertical square of Xiao Zhuan, which first becomes a square and then becomes a horizontal square. Han Li has a powerful, extensive, neat and flexible bearing. The reform of official script to seal script includes two aspects: stroke and structure. The method of official transformation has become square. Turn it into a straight curve. Correct the strokes and disconnect. Save the stroke structure and so on. Among them, it is most important to take the potential horizontally and keep the natural state of writing with a brush. Take the potential energy horizontally, send the pen left and right, and the up and down movement is limited. Finally, the eight-point brushwork of sweeping left and picking right is formed. The softness of the brush makes the strokes of Chinese characters have a thick and thin Fiona Fang. Hidden dew and other changes. And word spacing. Narrow line spacing is also a major feature of its composition.
Han Li is exquisite in silk paintings, lacquerware, portraits and uranium mirrors. In the inscription, it shows its broad momentum and unique charm. There are two main forms of existence in Hanli: stone carving and bamboo slips. Most of the official scripts in Wei, Jin, Southern and Northern Dynasties are regular script. There are many calligraphers in the official script of the Tang Dynasty, such as Xu Hao. Song Yuanming's official script can hardly inspire Han Li's brilliance. Until the Qing dynasty. Han Li recovered. Yu Nong, Deng,, how. Don't achieve anything.
The second peak of official script
After Wei and Jin Dynasties, calligraphy, cursive script, running script and regular script formed and developed rapidly. Although the official script has not been abandoned, it has not changed much and has been silent for a long time. In the Qing Dynasty, in the wave of the revival of stele study, official script was re-valued, and famous calligraphers such as Zheng Xie and Jin Nong appeared, who made innovations on the basis of inheriting Han Li.
The evolution of official script-the change of official script
The evolution of official script is called "official change", which is a link between the past and the future and plays an important role in the formation of cursive script and regular script.
Official script nouns
Guli
Jinli
Li Qin
Hanshu (a popular writing form in Han Dynasty)
Sasuke
eight
Li Cao
Willie
The Prosperity of Editing this Official Document —— Han Li
At the beginning of the Western Han Dynasty, Qin Li's style was still used, but it began to change greatly in the Xin Mang period, resulting in the writing method of stippling. By the Eastern Han Dynasty, Lishu had produced many styles and left a large number of stone carvings. Zhang Qianbei, Ying Ying North and Cao Quanbei are the representative works of this period.
Semi-cursive/running/calligraphy (China's calligraphy)
A font between regular script and cursive script, which can be said to be cursive or cursive. It is to make up for the shortcomings of slow writing in regular script and illegible cursive script. The brushwork is not as sloppy as cursive script, and it is not required to be as correct as regular script. There are more methods of mold opening than cursive writing, which is called "mold opening". Cursive calligraphy is more than modular method, which is called "cursive calligraphy". Running script was produced in the late Eastern Han Dynasty.
The most famous masterpiece is Preface to Lanting written by Wang Xizhi, a calligrapher in the Eastern Jin Dynasty. Predecessors described it as "a dragon descending from heaven, a tiger lying in a phoenix pavilion" and praised it as "the best running script in the world". Tang Yan Zhenqing's book "Sacrificing a Nephew" is very bold, and the ancients rated it as "the second running script in the world". Su Shi's Huangzhou Cold Food Sticker is called "the third running script in the world". Running script with regular script or close to regular script is called "running script", and cursive script or close to cursive script is called "running script". The famous representative work in the running script is Lushan Temple Monument written by Li Yong in Tang Dynasty, which is fluent and rich. There are Su Shi, Huang Tingjian, Mi Fei and Cai Xiang in the Song Dynasty, Zhao Mengfu, Xian Yushu and Li Kang in the Yuan Dynasty, Zhu Yunming, Wen Zhiming, Dong Qichang and Wang Duo in the Ming Dynasty, and those in the Qing Dynasty. They are all good at running script or cursive script, and many works have been handed down from generation to generation.