Chapter 16 Section 3 The Artistic Beauty of Various Scripts of Lishu

Although official script originated from bamboo slips and silk, it began in the Warring States period, and its prosperity was in the Han Dynasty, especially the Eastern Han Dynasty, which was called its heyday.Since the Wei and Jin Dynasties, although it has gradually declined, it has never stopped, and it has seen a revival in the Qing Dynasty.In the long history of books, there are too many families who can be attached to, and only the typical ones are listed, which is enough to open the eyes. The "Yiying Stele" mentioned in the previous chapter is one of the typical examples of the official script of the Han Dynasty when it is mature. In addition, when it is in the process of writing, it has its own variants.For example, "Kaitong Baoxiedao Inscription Stone", commonly known as "Da Kaitong", is the earliest existing cliff inscription in the Eastern Han Dynasty.The stone is in the North Shimen Valley Road of Baocheng, Shaanxi.Everyone regards its characters as ancient scribes, which are simple and vigorous, natural and elegant, and are known as gods in the world.

"Ziyou Remnant Stele" was carved during the Eastern Han Dynasty and the early Yuan Dynasty (AD 114-120), and was unearthed in Anyang, Henan.Ancient and quiet, thick and simple, scattered in size, very interesting. "Beihai Xiangjing Monument" was erected in the second year of Han'an in the Eastern Han Dynasty (AD 143). The monument was originally in Rencheng, Jining, Shandong.Its characters are rectangular and majestic, and the vertical strokes at the bottom are often extended, like the feet of seal scripts, open and steep, although not very elegant, but still ancient.

"Ode to Fenglongshan" was established in the seventh year of Yanxi in the Eastern Han Dynasty (AD 164). The stone was originally located at the foot of Wangcun Mountain, 45 miles northwest of Yuanshi, Hebei. Unfortunately, there is nothing left of it now.Its fonts are upright and ancient, with few carvings, dense word spacing between lines, even calligraphy and painting, occasionally thick and heavy, very bold, especially when viewed as a whole, it feels rigorous, simple, generous and natural.There is a simple and humble attitude on the outside, but the momentum of flying is inside.Although there are ups and downs with the pen, the method is sharp.Existing rubbings lose their original appearance once they are cut. If you can see the full rubbings, you will have a completely different look and feel. (Figure 9)

The full name of "Stele of Ritual Vessels" is "Han Chi Han Chi Made Confucian Temple Ritual Vessels Stele", also known as "Han Chi Stele", "Confucius Temple Vessel Stele", erected in the second year of Yongshou in the Eastern Han Dynasty (AD 156), and the stone was erected in Qufu, Shandong. Confucian Temple.It is also a typical example of Han Li when it matures.Its characters are quaint and elegant, and if you get a magical skill, the so-called "star current turns, and the fiber exceeds the planted hair", it is as thin and hard as iron, and it changes like a dragon. Every character is strange and unpredictable. (Figure 10)

"Zhang Jing Stele", also known as "Zhang Jing's Earthen Bull Stele", was erected in the second year of Yanxi in the Eastern Han Dynasty (AD 159) and was unearthed in Nanyang, Henan.Its characters are similar to "Chaohou Boy's Remnant Stele", which belongs to the school of meaningful and elegant.There is a circle in the square of the pen, and a square in the circle, and the square is used to fold the pen, which completely escapes the meaning of seal script.Thin and vigorous has the sparseness of "Shimen", and its beauty is close to "Cao Quan" without its sweetness and vulgarity.The strokes open to the left and right, with clear waves, horizontal and flat body, flat and upright knot characters, and there are changes in the symmetry.If you learn this for the first time, you will not become vulgar, but you will be able to learn how to use the pen and form characters.

The full name of "Xian Yu Huang Bei" is "Han Yanmen Prefect Xian Yu Huang Bei", and it is often called together with "Zhang Qian Bei" as a model of the simplicity and simplicity of the Han Dynasty stele.It was established in the eighth year of Yanxi in the Eastern Han Dynasty (AD 165), and was unearthed in Wuqing, Hebei in 1972.Most of the handwriting on Tongbei is clear and intact, only a few are slightly damaged.The characters on the stele vary in size and rank, but they are even, intricate, natural and decent.As far as the style is concerned, it is square and simple, rich and vigorous, sharp and sharp, and it is indeed elegant and ancient.Although the boundary of the original grid is not limited by it, the height of the characters in the grid is random, and the whole article is full of fun. (Figure 11)

The full name of "Yang Shugong Residual Stele" is "Yang Shugong Remnant Stele of the Inspector of Han (Weiwei) Prefecture", erected in the fourth year of Jianning in the Eastern Han Dynasty (AD 171).His books are quaint and elegant, with a well-crafted style, but they are scattered like scattered. The pen is condensed and straight, and the body is wide and beautiful. It is suitable, the rules and regulations are scattered and unrestricted, but there is no gaffe, so it stands out among the steles of the Han Li. "The Stele of Zhao Kuan", also known as "The Stele of Zhao Kuan of the Three Old Rafters", was erected in the third year of Guanghe in the Eastern Han Dynasty (AD 180), and was unearthed in Baiyazi, Laoya City, Ledu, Qinghai in 1942. It was burned by fire in 1950, and a small piece remained.Its calligraphy is beautiful and vigorous, with dense rules and regulations.There are obvious rules for using the pen and writing characters, and there is no natural change in the previous works.The official script of the Tang Dynasty may be greatly influenced by this.

The full name of "Cao Quanbei" is "Han Heyang Order Cao Quanbei", which was erected in the second year of Zhongping in the Eastern Han Dynasty (AD 185), and was unearthed in the old city of Heyang, Shaanxi at the beginning of Wanli in the Ming Dynasty.Its characters are beautiful and flying, neither restrained nor rushed, which can be the representative of beauty and elegance in Han Li. (Figure 12) The full name of "Zhang Qian Stele" is "Ode to Zhang Junbiao, Chang Yinling of Gucheng of Han Dynasty".It was established in the third year of Zhongping in the Eastern Han Dynasty (AD 186), and it was originally located in Dongping, Shandong.At first glance, the calligraphy and engraving are not very well done, so there may be differences among critics all the time.However, in all fairness, the calligraphy and engraving are not very good, but they are steep and steep, which is really interesting inadvertently. On the whole, they are more classic, ancient and majestic, and shocking. Those who wanted to achieve a high level in the Han Dynasty all paid attention to this stele. (Figure 13)

There are many steles in the Han Dynasty. In addition to the works mentioned above, others such as "Yangjia Remnant Stele", "Ode to Shimen", "Zhang Shou Stele", "Confucius Stele", "Xiyue Huashan Temple Stele", "Shichen Stele", "Ode to the West", "Kong Biao Stele", "Yanghuai Table Records", "Lu Jun Stele", "Xiping Stone Classic Residual Characters", "Han Renming", "Yin Zhou Stele", "Sacrificing to Sangong Mountain Stele", "White Stone" The Monument of the Divine Monarch, the Monument of Zhao Yu [yu Yu], the Monument of Fan Min, and the Remnant Monument of Chaohou Boy, etc., all have their own strengths and are praised by future generations.Looking at it comprehensively, there are no distinctions between elegance, rigor, succinctness, and singularity.

But "Xia Chengbei" must be mentioned.The full name of this monument is "Han Beihai Chunyu Changxia Chengbei", also known as "Xia Zhongyan Monument". It was erected in the third year of Jianning in the Eastern Han Dynasty (AD 170).It was unearthed in Zizhou, Sichuan during the Yuanyou period of the Song Dynasty, and was cracked by an earthquake during the Jiajing period of the Ming Dynasty.Today there is a pass in Yongnian County, Hebei Province, and it was re-engraved by Tang Yao, the magistrate of Jiajing period in Ming Dynasty.Its characters have the brushwork of seal and bamboo, which are extremely ingeniously decorated.The simplicity and vigor of the Han stele has all gone so far, and the old tune can never be regained.Because it is too decorative and has strong craftsmanship, its style has been reduced, but it has influenced later generations, from Wei, Jin, Tang, Song, to Yuan and Ming, and has a long history.Later, "Shangzunhao Zou", "Cao Zhen Can't Monument", "Paradigm Monument", "Wang Ji Monument", "Three Body Stone Classic", "Xixiang Hou Can Monument", "Mrs. Sun Monument", "Emperor Longxing Three Linbiyong Stele" and so on, all follow the "Xia Cheng Stele".

Only the following passages in the Wei and Jin Dynasties of the Three Kingdoms have a little personality and are a little impressive. "Confucius Monument", also known as "Lu Confucius Temple Monument", "Repairing Confucius Temple Monument", "Feng Kongxian Monument", was erected in the first year of Huangchu of the Three Kingdoms (AD 220), and it is now in Qufu Confucius Temple, Shandong.Its characters are strong in knots, square and solid, and elegant in their strictness. "Huangchu Remnant Stele", also known as "Heyang Thirteen Characters", was established in the fifth year of Huangchu in the Three Kingdoms (AD 224), and was unearthed in Heyang, Shaanxi at the beginning of Qianlong in the Qing Dynasty.There are four pieces of residual stone, each with different characters.Its characters are simple and simple, with a slight sense of ancient vigor and tranquility. The full name of "Fu Fu" is "Jin Mingwei General Nanxiang Taishou Yuxiu Stele". It was erected in the sixth year of Taishi in the Western Jin Dynasty (AD 270), and was unearthed in Ye County, Shandong Province during the Daoguang period of the Qing Dynasty (AD 1821-1850).Its characters are full of strange shapes, clean and clear strokes, novel knot characters, and gentle and elegant charm.The strokes are uneven, and the expression is unrestrained, which is quite interesting. The full name of "Gulang Stele" is "Wu Jiuzhen Taishou Gulang Stele". It was erected in the first year of Wu Fenghuang of the Three Kingdoms (AD 272).Its structure is mostly official method, and the brushwork is slow and vigorous, elegant and quiet, with a strong and beautiful atmosphere.However, regardless of the use of pens and knots, there are signs of the transformation from official script to regular script, so most people think that it is a transformation from official script to regular script. After the Sui and Tang Dynasties, most of the inscriptions or epitaphs were neither regular script nor official script, so there was nothing strange about them. Otherwise, they were some carefully crafted official scripts along the lines of "Xia Cheng Bei".However, taking the historical point of view as the standard, the following types, although they are far away from the Han Dynasty, can not fall behind the disadvantages of the times, and still have their own characteristics, or even if they are fashionable, they are still a little impressive, and they can be regarded as the talents of the moment, so they are worth mentioning: The full name of "Fang Yanqian Stele" is "The Preface and Inscription of Linzi Ding Gong Fang Gong's Stele", which was established in the fifth year of Zhenguan in Tang Dynasty (AD 631), written by Li Baiyao and written by Ouyang Xun.The stele was originally located in Zhangqiu, Shandong, and the villagers suffered from watching idlers trampling on the seedlings when the stele dealer was digging it, and wanted to destroy it. Fortunately, it was banned by the town's edict, but the lower section has been full [huanhuan], and it is no longer the same as before.Its characters are official script, with an elegant style, which has both the style of "Er Cuan" and the charm of regular script.In the official script of the past dynasties, the style is quite special and unique. The full name of "Cui Taizhi's Epitaph" is "The Epitaph and Preface to the Epitaph of Cui Gong, the Founding Duke of Qinghe County, Qinghe County, the Governor of Jingzhou, and the Preface", engraved in the eleventh year of Tang Kaiyuan (AD 723). Zhongshu servant Cui Mian [mian free] Wen, Li Di □ book.Although its characters have lost the simplicity and strength of Hanli, the round, dignified, slow and steady atmosphere of Hanli has been retained. "Jitai Mountain Inscription", engraved in the 14th year of Tang Kaiyuan (AD 726), is carved on a cliff, written and written by Xuanzong Li Longji, compared with the "Shitai Xiaojing" written by himself 20 years later, it is more simple and simple. There is no delicacy and charm.It seems to be related to the "Monument of Zhao Kuan" in the Han Dynasty and the "Monument of Zen Master Dazhi" written by Shi Weize at that time. The full name of "Songyang Guanji" is "Ode to the Inspiration of the Great Tang Songyang Guanji", engraved in the third year of Tang Tianbao (744 A.D.), written by Li Linfu and written by Xu Hao.Some people think that he is similar to Shi Wei, but in fact he is not. He has no historical craftsmanship.He is also different from Han Zemu, without Han's slenderness, he can maintain evenness in neutrality and stability, without the management of vulgar products, without losing the smoothness and integrity of openness. Although there were a few writers in the Song, Yuan, and Ming who were able to write official script, they were very general, and the rhyme of Han Dynasty had been lost, and it was only after the Tang Dynasty.It flourished in the Qing Dynasty, but there were also a large number of works that did not show the vulgar style since the Wei and Jin Dynasties.Of course, there are outstanding ones who stand out, showing dazzling brilliance for the Litan in Qing Dynasty.Such as: Zhu Yizun deeply appreciates the leisure and fun of "Cao Quan", but he only takes the vertical trend, without being restrained, and comes up with other ideas, especially in the composition, which is more elegant and yearning. Wang Shishen's writing is fresh and vigorous, his writing is rigorous, elegant and decent, and well organized. After the age of 54, he became blind in both eyes, but he was still able to draw plum blossoms and write eight-point books by the window. Jin Dongxin's official script is also very impressive, with heavy brushwork and elegant style. Although it is more straight and less curved, it is not rigid, but agile and gratifying. Rambling. These three people are the first to get the wind, can trace the ancient method, and transform it into a new style, and the road is blue, and the merit is far and wide. Gui Fu's official script was named Chongyi, which was the turning point of the prosperity of official script in Qing Dynasty.The strokes of the characters are dignified, mellow and ancient, the characters are rigorous, and the testimonies are strong.In particular, it is magnificent and heavy as a mountain, which is very solemn and dignified.Some people think it's clumsy, because they don't know its ingenuity;When the Qing people entered the Han Dynasty, how many people could be like Gui Fu?It will be even more convincing if you witness its authentic work in ink. (Figure 14) Deng Shiru's official script is strong and vigorous, elegant and well-proportioned. It gathers the ancient charm of Han steles and has its own demeanor. (Figure 15) Huang Yi's official script is thick and vigorous, with both square and round strokes, and the interlacing is natural and subtle, which is quite the principle of combining hardness and softness.Therefore, its characters are simple and vivid, and the changes are new. Yi Bingshou's official script has a deep Chinese meaning and is unique. It focuses on the style of brushwork, the breath of gold and stone, and the majestic and powerful body, showing a kind of formidable power that cannot be easily violated.The style is ancient, but it feels novel, both frank and sincere. (Figure 16) Qian Yong has more than a hundred kinds of official scripts, including all Han steles, which are both neat and elegant.Not only has the vitality of the ancients, but it has not fallen into the vulgar world, but it has not developed much, and it has disappointed everyone. Zhang Zuyi was the latest in the Qing Dynasty, but his official script has a book-like atmosphere, free from the accumulated habits of Qing people who are either domineering, strange or bloated. Others such as Ruan Yuan, Chen Hongshou, Zhang Tingji, Yao Yuanzhi, Deng Chuanmi, Wu Xizai, He Shaoji, Hu Zhen, Qian Song, Yang Xian, Yu Yue [yue Yue], Hu Shu, Zhao Zhiqian, Yang Shoujing, etc. also have their own understanding, or pass on the master's method, Either get the Han style, or take the Han as the ancestor, and refer to various styles, all of which have their merits. However, compared with the above, it is either inferior to the pioneering work, or it is not as deep as the Han, so there is no time to prepare.The leftovers are all there, and readers can search for them for themselves. Although the official script has been in decline since the Han and Qing Dynasties, it can be said to be a grand sight only from the above list.