1. Filial piety
One of the basic characteristics of the Lishu style that distinguishes it from the seal book and the letter is that its knots are mostly flat square (compared with it, the knots of the seal book are mostly rectangular, while the letter is mostly square).
Specific to this "filial piety" word, if we want it to present the visual effect of a flat square, the two horizontally extended strokes numbered with sums in the above figure should be highlighted and emphasized, and the numbered longitudinal strokes need to be properly compressed.
In fact, the vast majority of the classic Han Li Bafenshu works also adopt this structural layout:
(The four "filial piety" characters in the picture above, from left to right, are from the "Xiyue Huashan Temple Stele", "Shi Chen Stele", "Ceremonial Instrument Stele" and "Yi Ying Stele".) In terms of structural layout, they invariably highlight, two strokes and weaken the strokes. ）
Compared with the glyphs in the above four Hanli monuments, the word "filial piety" in the "Zhang Qianbei" that we are writing today, from the perspective of the interrelationship between the two strokes, it is actually handled well.
In terms of the stretching of the goose's tail, it seems that the position of the stroke in the structural level is slightly better than that of the stroke. But the problem with the word is that its strokes are stretched so badly that the whole word forms into a strange rectangle.
On this point, we only need to compare it with another "filial piety" character in "Zhang Qianbei", and it will be clear at a glance:
(Compared with the left "filial piety" character that we are going to write today, the meaning of the "filial piety" character on the right is obviously stronger, and the key lies in the treatment of the strokes.) ）
Therefore, we can see that when Deng Sanmu and He Shaoji, two calligraphers, were about to write this "filial piety" character in Zhang Qianbei, they both refused to follow the strokes of this character:
(The first from the left in the picture above is Deng Sanmu Linben, and the second from the left is He Shaoji Linben)
Finally, attach the word "filial piety" in the "Zhang Qianbei" that I wrote:
2. Wu
In terms of glyphs, a significant feature of the stele "Zhang Qian" is that its glyphs are often more strange than other Han dynasty classics, but under careful analysis, we will find that most of these glyphs conform to the principle of seal body adjudication. For example, this "wu" word.
Today we often say that "stop the war is the weapon". But this explanation is actually a late meaning of the word "wu".
At the beginning of the creation of the word, the "stop" in "wu" did not mean to stop, but the pictogram of the foot. The two righteous symbols of "stop" and "ge" are together, and it should be that a person holding a weapon rushes forward, which is the original meaning of "wu".
On this point, we only need to look at the oracle bone glyph of the word "Wu" to understand:
Looking at the meaning of "stop", its seal is usually written like this:
Compared with the "Wu" glyph in "Zhang Qianbei", it actually condenses the three strokes in the above picture into dots in the process of subordination, so that the glyph becomes the following appearance:
3. Time
In the three horizontal strokes of the word "Shi", that is, the three strokes marked in the above figure, most of the Han Li Bafenshu works will choose the stroke as the main stroke:
(The three "shi" characters in the picture above, from left to right, come from the "Shi Chen Stele", "Yi Ying Stele" and the "Xiyue Huashan Temple Stele", and their sound symbols "temple" are all based on strokes.) ）
Unlike them, the "time" of "Zhang Qianbei" is based on strokes, and it is written like this:
Fourth, yes
The shape of this "have" word is somewhat unique. To analyze this uniqueness, we have to start with the shape of the strokes in the above figure.
According to common sense, since the stroke is the main stroke of this word, its wave potential is often written more exaggerated, showing a swaying and colorful appearance, similar to the following:
However, the original author of "Zhang Qianbei" did not follow such an idea to write. He wrote the strokes in a straight line, and even the goose's tail was very convergent.
In this way, all the horizontal paintings in this "have" word are too straight, and if there is no stroke to stand up and adjust to this stiff and rigid posture, the word will become lifeless.
Obviously, the original author of "Zhang Qianbei" also had a clear understanding of this point, so he gave the role that should have been played by the stroke to the stroke, and the glyph became like this:
— THE END —
The text | Prince of Jin
Typography | cream belly
The picture | Zhang Qianbei & Jin Gongzi original