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 exactly is a ceremony, and 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." (I added the following key symbols. After careful comparison and research, Mr. Wu came to such a scientific conclusion, which is naturally worthy of attention as the dividing line between the 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 Lu stone carving in the second year of Wufeng in the Western Han Dynasty (the first 56 years), the memorial to the San Gong Mountain monument 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, and it 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.
Editing the development of this section 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 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).
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. To the Eastern Han Dynasty
This book has produced many styles and left many 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. 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. The second official script peak after Wei and Jin Dynasties saw the formation and rapid development of calligraphy, cursive script, running script and regular script. Although the official script has not been abandoned, it has not changed much and there has been a long silence. 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.
Edit the nouns in this official script.
Guli Gionee Li Qin Han Li Zuo Shu eight points Cao Li meager profit
The artistic value of editing this paragraph
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. Changing "Lian Bi" into "broken pen" and changing lines into strokes makes writing more convenient. "Liren" is not a prisoner, but a small official, that is, a small official in charge of documents, so in ancient times, Li Shu was called a "supplementary book". 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.
Edit the history of this official script.
Li Shu, sealing the valerian also. This is a classic description of Lishu itself and its background in Wei Heng's Four Books of the Western Jin Dynasty. In fact, the regular script of seal script refers to a new relatively independent font that changed in structure and writing during the Spring and Autumn Period and the Warring States Period. In other words, official script was born out of seal script font through "official change". Li Bian is an important calligraphy cultural event in the history of calligraphy in China. The internal motivation of the official change is to adapt to the requirements of the social development at that time for the application of characters. "Li change is mainly manifested in two aspects: first, the change of font structure is not only the change of regular script font structure, but also the main direction of this change is simplification; The second is the change of writing style, which is not only to change the writing style of the original regular script, but also to be concise and convenient. The simplification of font structure and the simple flow of writing style constitute the core content of the transformation process of officialdom. The simplification of glyph structure and writing style here is not only for the improvement of writing speed, but also for the inherent writing movement situation that is more in line with people's physiological movement track, so that official script was widely used with the political changes at the turn of Qin and Han Dynasties. As far as calligraphy is concerned, Li Bian completed the following official seal transformation: 1, which got rid of the solidification of the font structure of the official seal and moved towards the abstract expression of the temporal and spatial movement of the official seal lines; 2. Lines change from euphemistic arc strokes of seal script to steep straight strokes, and twists and turns change from joint circle of seal script to turning point of Fang Bi. The formal transformation marks the destruction of the phase of Chinese characters and the establishment of abstract symbols, which makes Chinese characters change from ancient writing system to modern writing system. At the same time, it also marks the final formation of the independent personality and aesthetic characteristics of Lishu. On the other hand, as people's normative consciousness, we must standardize this new font and style. As a result, a highly standardized stereotyped writing appeared in the late Han Dynasty. Therefore, we say that the so-called official reform process is the normative construction process of the new calligraphy body produced by the triumph of seal script. As calligraphy, the beauty of official script lies in the process of official change that lasted more than 400 years. It is very necessary to interpret the aesthetic connotation and background of official script, which is helpful to our in-depth understanding of official script itself. Usually, we know official script from the existing Han steles and bamboo slips. However, it is far from enough to understand official script only through Han steles and bamboo slips. Because we can't understand the origin of the aesthetic connotation of official script. Therefore, we should interpret the process of official change for more than 400 years under the cultural background of Qin and Han dynasties, and explore the cultural and ideological origin of the beauty of official books. Only in this way can we know some official script traditions. In the Han Dynasty, Lishu not only formed its own independent personality and aesthetic characteristics through the process of bureaucratization, but also had a general trend of development in the direction of laxity and standardization. On the one hand, Lishu gradually broke away from its original practical position in the extreme of overemphasizing the convenience of writing, and then in the process of constantly planting grass, because of the different writing movements, Cao Zhang and Cao Jin, which we now call, finally formed; On the other hand, it shows the normative construction of the original writing form of official script, which is based on the formal order. Because the stability of writing order directly affects the smooth communication of national culture and social progress. This is an important link that the government has always attached importance to. Therefore, with the establishment of the kingship in the Han Dynasty, it is inevitable to standardize the official script widely circulated in real life. Stereotyped eight-part script effectively overcomes the tendency of random writing in seal script Li Jie's calligraphy by standardized means, and makes the formal order tend to stable position selection and orderly structure diagram. Coupled with the constant accommodation of the aesthetic concepts of the official literati in the Han Dynasty, it finally formed a standardized, harmonious, quiet and left-handed style. The overall trend of stone carving in Han Dynasty from the simplicity of Western Han Dynasty to the standardization of Eastern Han Dynasty also confirms the historical process of official standardization of official seal characters. However, today's academic and calligraphy circles generally regard the gradual development trend of stone carving in Han Dynasty as a sign that official script is maturing. This is not only far-fetched, but also brings difficulties to the interpretation of official script ontology theory. This is because: First, the transformation of stereotyped writing to official script is based on the standardization of art and the modification of lines. Not only does it not have the randomness and rationality of writing, but it increases the difficulty of writing and loses the practical position of official script which was originally simple and convenient to write; Secondly, from the perspective of the writing subject, from the original official official position to the literati and officials. It can be seen from the stone inscriptions such as Yi Ying Monument, Li Monument, Huashan Monument, Cao Quanbei, Zhang Qianbei, etc. that the eight-part essay has begun to have the artistic characteristics of elegance, standardization and literati. These calligraphy characters generally have one feature, that is, waves. This wave is actually a beautification of the original official script writing method of seal interpretation. The flying lines and waves make the carved stone official script break away from the simplicity and simplicity of the original official script and begin to have the artistic characteristics of elegance and literati, which is the embodiment of the romantic and chic artistic aesthetic spirit of the literati in Han Dynasty. It is this artistic feature of elegance, standardization and literati that makes the official script lose its internal conditions and social foundation for widespread circulation in society, so it should not belong to the official script in the original sense. In fact, the official script in stone carvings shows a trend of gradual standardization, and its essence is the dual result of the standardization and aesthetic transformation of the official script in the first edition of seal script. The Book of Songs in Xiping embodies the stability of stereotyped writing to the greatest extent with its highly standardized formal order, structural similarity principle and formal similarity characteristics. From the perspective of philology, octupole should be a new and relatively independent font. Therefore, we say that the general trend of official script development from the simplicity of the Western Han Dynasty to the standardization of the Eastern Han Dynasty is not entirely a sign that official script is maturing, but a new font. Because of its own essential characteristics and use orientation, it is bound to break away from the mainstream of official script writing and develop in a more standardized direction. The characteristics and contents of Xiping Book of Songs also prove the limitations of using stereotyped writing as a standard font in the Eastern Han Dynasty. Therefore, we say that the formation of the independent personality and aesthetic characteristics of official script was not highly standardized and mature in the Eastern Han Dynasty, but existed in the process of official script reform for more than 400 years. In the 400-year transformation of officialdom, there are too many calligraphy texts to be interpreted and recognized. Zhang Qianbei is simple and bold, vigorous and broad, and Cao Quanbei is elegant and gorgeous, handsome and moist, which shows us the classic stone carving calligraphy of the Eastern Han Dynasty with different styles, different structures and different aesthetic orientations. This is the writing inspiration of the clean cultural atmosphere in the Eastern Han Dynasty and the literati's confidence in understanding and conquering nature. In particular, the free and easy vagrancy of Shimen Fu embodies the open feelings of literati returning to nature, and the carving of folk craftsmen has injected a kind of folk simplicity into Shimen Fu, which has both the simplicity and randomness of the original official script and the unique artistic charm of humanistic feelings, showing the bold character and broad-minded natural atmosphere of Shimen Fu and becoming a book handed down from generation to generation. However, the elegance, magnificence, solemnity and neatness of stone carvings in the Eastern Han Dynasty are only a complete and gorgeous beauty. Without the simplicity and simplicity of the original official script, this beauty is hypocritical, artificial and emotionless. If the elegance, magnificence, solemnity and order of stone carvings in the Eastern Han Dynasty are put into the original unrestrained, smooth and broad aesthetic atmosphere of official script, then calligraphy will have a natural simple and broad atmosphere. And this kind of beauty is closer to the real beauty of life. Because a large number of scribbles in the process of official change seem simple, simple and ordinary, but in fact they contain infinite aesthetic value and are the true expression of human life system. Cognition is the premise of inheritance. Therefore, it is our constant concern to explore the aesthetic essence of official script in Han Dynasty and the cultural and spiritual connotation behind it. At the same time, it should also be the premise and theoretical fulcrum for us to complete the epoch-making breakthrough and development of official script. Needless to say, the so-called innovation is more practical to deeply understand the tradition of official script. As long as we know and understand some traditions of official script and complete the connection between tradition and modernity, then we can create official script works that pay equal attention to both classicality and modernity. The so-called classicality here is the continuous development form of official script, and the so-called modernity is the modern aesthetic consciousness and cultural spirit of official script. Classical-modern has holographic content, but it is not entirely neoclassicism advocated by Mr. Zhou Junjie. So when I talk about classicism and modernity, I have the consciousness of combing classicism and interpreting the times in a new time and space framework. It may be anti-traditional, because we look at tradition from the standpoint of the times. It may also be inherited from tradition, because tradition is affecting us.