1. Order
Second, yes
The word "have" appears very frequently in "Zhang Qianbei". And so many "have" words are probably not written in the same set of brushwork.
In today's lesson, we will focus on the left vertical of the "have" character "month" (that is, the stroke marked above), and briefly explore the pen changes of "Zhang Qianbei" from the writing of this pen.
To sum up, the meaning of the word "have" "month" has about two ways of writing in the "Zhang Qianbei". The first type of writing is as follows:
The stroke of this "yes" word is a stroke of a word. Specifically, it requires the pen to be moved to the left when it reaches the end, writing an upturned tail. This is the typical Han Li Bafenshu penmanship.
It is not difficult to see the use of this penmanship in the famous eight-point books that have been handed down from generation to generation, such as the "Yi Ying Stele" and the "Xiyue Huashan Temple Stele":
(The picture on the left is "Xiyue Huashan Temple Stele", and the right picture is "Yi Ying Stele".) Comparing the "have" characters in the "Zhang Qianbei" in the previous figure, it is not difficult to find that they are basically the same in the writing technique of strokes)
However, the word "have" in Zhang Qianbei has another, more special form. If you do not change the brushwork that is different from the "Xiyue Huashan Temple Stele" and the "Yiying Stele", this kind of "you" stroke is difficult to write:
If the strokes of the previous type of "have" are closer to "turning", then the strokes in the above figure are more like "folds".
From the rubbing, the stroke has a sharp turn when it comes out of the wave, but there is no sharpened tail (which seems to imply that the original author did not have the usual opening action of writing the wave when writing this stroke).
A more convenient way to write such a peculiar shape of the tail is to use an inverted pen book, that is, to use the tail as a point of right descent to fill the end of the stroke.
The word "have" that we are writing today, which kind of brushwork its strokes use, the reflection on the rubbing is somewhat blurred. If you write according to the first stroke, the form of the written word should be as follows:
If you write according to the second stroke, the form of the word becomes the following:
3. Public
Fourth, the secretary
Before analyzing the writing of this "Qing", I would like to talk about the writing of this character by Deng Sanmu and He Shaoji, two calligraphers.
Picture 1 from the left is Mr. Deng Sanmu's pro book. Judging from the layout characteristics of the entire word, it is actually more similar to the writing method of "Shi Chenbei":
If you compare this "Qing" character with an earlier seal:
It is not difficult to find that the shape of this "Qing" character in the "Shi Chen Monument" is changed from the form of the stroke to the form. The stroke in the seal shape is a simple vertical pencil long introduction, and when it is transmuted to a subordinate shape, it becomes the left vertical writing of the wave.
The chain reaction of the change in writing is that once the stroke is out of the wave to the left, its longitudinal height will be reduced, so that the left foot of the original three-legged standing becomes a "small short leg", in order to restore the structural balance of the glyph, the stroke and must be forced to make corresponding adjustments.
The stroke adjustment is relatively easy, just cancel the original long lead, so that it blends with the next stroke into a vertical fold, you can form a certain symmetry with the shape of the stroke that flows to the left.
The harder to deal with is the stroke. Even if we shorten its long lead so that it is flush with the stroke, because its form has not changed--it is still a lone vertical, and compared to the stroke and the lower half, the gap left by the stroke is too large, so that the whole word is still uneven.
Therefore, in my personal opinion, there are subtle flaws in the structural layout of the "Qing" character like the "Shi Chen Monument".
To erase this flaw, it is not impossible.
We can, like the Yi Ying Stele, lower the position of the "Jie" a little, and form a somewhat misplaced layout with the two structures on the left, so as to adjust the visual effect of the Champa White:
He Shaoji wrote the "Qing" character of "Zhang Qianbei", and I think he may have written it with reference to the above glyph layout.
However, I think that the "Qing" character in "Zhang Qianbei" is probably different from the typical eight-point book like the "Shi Chen Stele" and the "Yi Ying Stele" in terms of glyph characteristics:
The "Qing" character in "Zhang Qianbei" adopts most of the ideas of seal-shaped writing, that is, to maintain the original three-legged pattern of the seal shape, but to change the flexed and winding strokes of the seal body to the square fold of the lishu.
Written like this, the word "Qing" is as follows:
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The text | Prince of Jin
Typography | cream belly
The picture | the network