Yi Bingshou, 19th year of Qianlong in the Qing Dynasty - 20 years of Jiaqing (1754-1815), moqing, mo'an. Fujian Tingzhou people, the late people also known as "Itingzhou". His father, Yi Chaodong, was a scholar of the Thirty-fourth Year of Qianlong (1769), and was the chief of the Punishment Department of the Liguan Bureau, Yushi, and the secretary of the Guanglu Temple. History says that Yi Bingshou "passed through Zhu Lixue, Young Bingting Training, learned from the yin chengfang, and emphasized the learning of establishing oneself and doing oneself." Later, under the common sense of the university scholar Zhu Jue and the weight of Ji Xiaolan, he worshiped Ji as a teacher, and then worshiped Liu Yong, the most famous calligrapher at that time, as a teacher to learn calligraphy. Yi Bingshou was a Qianlong fifty-four-year (1789) jinshi, successively serving as the chief of the punishment department, and later promoted to foreign lang.
In the fourth year of Jiaqing (1799), he served as the prefect of Huizhou in Guangdong, but due to a dispute with his direct subordinate governor and the governor of Liangguang, Ji Qing, he was put in charge of the military platform, and after ZhaoXue was promoted to the prefect of Yangzhou. During his tenure, he was known for his "honest and good governance". In the seventh year of Jiaqing (1802), when Yi Bingshou was 54 years old, he died of his father's illness and went to the official coffin to return to his hometown, and tens of thousands of citizens of Yangzhou wept to bid farewell. Yi Bingshou himself died in 1815 at the age of 62. Later, in order to admire his legacy, yangzhou people revered his legacy and renamed it "Four Sages Ancestral Hall" in the local "Three Sages Ancestral Hall" (ancestral halls of Ouyang Xiu, Su Shi, and Wang Shizhen).
If Hongyi reveals the quiet mind of the Buddhas, then Yi Bingshou shows the boundless power of the Buddha. Yi Bingshou's letter is indeed stupid, and clumsy can be.
The first is to simplify the lines, eliminate the rich rhythm of the Hanli lines, and make its mature "Huaqiao" action (sudden setbacks and wave picks) back to the simple and thick single mid-peak line segment, which visually conveys the simplicity, thickness, stupidity, like a silly elephant.
Second, in the structure of time and space, the characteristics of rich temporal rhythm and dynamics are erased, and only spells are blindly cast on the spatial framework - the painstaking planning of the space inside the word and the space outside the word.
In his works, the mature Stroke Pen method with rich and bright rhythm has become a single-action center pen, in order to avoid the monotony and uniformity caused by this stroke method, Itingzhou uses a parallel way with variable length and jagged lines to reveal a blend of rationality and nature; this makes him superior in the treatment of space: the parallel line segments with different lengths enhance the readability and interest of the space within the word, and the changes reflected in the external space of the staggered size make up for the time rhythm of the single line segment.
Then, when he loses the structural ability of time, there is only one kind of boldness expressed--a quiet courage, like a sculptural galloping bull.
Mr. Sha Menghai said:
"Although he is familiar with the Han Monument, there is also a perfect step ladder, which he was able to reach the peak later... He wrote Han Li in the way Yan Zhenqing wrote the letter, which became the face of the present. The Qing people learned yan, Qian Nanyuan got his body, Yi Moqing got his reason, He Zizhen got his intentions, Weng Changshu got his bones, and Liu Shi'an got his rhyme."
Yi Bingxing's book is taken from the Fa Yan body
Among several people, only Yi Bingqi's relics took the appearance of god and dissolved the spiritual aura of Yan zi into the creation of Lishu, which was really a great teacher and creation. Yi's Lishu and Yan Lugong's Calligraphy are as magnificent as those of The Great Cave Da Gao Sui, but their chests cannot be perfected.
In the Qing Dynasty literature circle lined with famous artists, Yi Binglishu came out from the monuments of "Pei Cen Ji Gong Monument", "Fenglong Mountain Stele", "Han Ren Inscription Stele", "Kong Zhou Stele", and "Xiping Stone Classic", which were unique and prominent.
Yi Bingqi's Lishu has distinct personality characteristics in ancient Kaixin, his Lishu strokes are straight, strictly and evenly distributed, the four sides are full of dignified and generous, wide bo junwei beautiful rhyme, with a luxurious and graceful temperament, its pen is round and not exaggerated the wave of the goose's tail, but the silkworm head and silkworm tail go straight forward.
His Lishu absorbed some Han Li stele. The super-wonderful thing about its lishu is that it is strict and not rigid above the knot, and sometimes there is a new reason and a charm in the use of the pen, which as a whole shows the image of an elegant and simple Tsinghua high-standard temple.
What is particularly rare is that his lishu can be powerful and small, not only can "expand the Han and become larger and stronger", but also can be reduced to a small subordination exquisite.
Yi Bingqi's lishu creation can be divided into about three stages.
Forty-five years before the age of forty-five is the period of infancy. The Lishu works created during this period are as shown in the following figure, although there are some new intentions, but they basically belong to the stage of imitation and exploration;
Forty-five to fifty years old is a period of metamorphosis, and after fifty years of age, from the eighth year of Jiaqing to the twentieth year of Jiaqing, his death is a period of maturity;
Most of his Lishu masterpieces appeared in this period, and after entering the mature period, his Lishu style still had subtle changes, such as the inscriptions of "Dingwu Lanting" and "Ruguya" in the tenth year of Jiaqing, and the inscriptions of "Never More Ancient Meaning, Can Give New Poems" in jiaqing in the ninth year of Jiaqing.
On the whole, it is known for its neatness, symmetry, and rigor. Since then, the glyphs of the books have been more refined and the strokes are more upright, and the connotations are more substantial and rich.
The original square is more rigorous and orderly. Some of the inscriptions of "Sanyi Pan ming" and "Sui Sex Caotang" show elegant and elegant meaning. The following figure shows the "Qing Shi Zong Wei Liu, Jia Jiu Ji Ou Mei" in which the two "mouth" characters below the "Ou" character are written like circles, the two points of the "Mei" word are dotted into dots, and the words below the "set" and "Zong" characters are arranged as short apostrophes.
The horizontal pen of the "Wei" character is slightly lonely, so that there is a circle in the square, straight and curved, in this couplet, the author combines the Miao Seal Han Li treatment method according to the glyph characteristics, and skillfully presents the square, rectangular, circular, triangular diamond, trapezoid and other plane shapes in the same couplet, coupled with the solemn refining of the pen to give people an endless feeling of aftertaste.
His letters are organically interesting and changeable in the strict rectification, simple and lively to achieve the coordination of movement and static, serious and lively unity, old to the full of vitality, strict and comprehensive with rhyme to see the momentum of the momentum and very intriguing.