Analysis and Appreciation of the Lishu Chapter Method Part VI: Lishu Fan Surface.
The writing form and chapter layout of the fan have already been said in the fan of the book, and I am repeating it here. There are two kinds of fans, the fan surface can be designed and drawn by itself, or it can be cut by itself with rice paper, flat, generous, easy to book, if it is cut into a fan with sprinkled gold or sprinkled silver rice paper, it is more decorative.
The shape of the folding fan is irregular, with a wide and narrow fan shape, so it is not easy to write. When writing a folding fan, the position of the center of gravity of the word must be arranged according to the width of the upper end of the folding line of the fan. The layout of the folding fan generally has two forms, one of which is the long and short line spacing method, that is, one line is long and long, the other line is less and shorter, one is long and one short, staggered, and only then is it clear; the other is to write down the empty style, that is, along the upper part of the folding fan from right to left, one line or two or three lines, so that the lower part is completely empty, extremely sparse. Tuan fan, also known as fan, has round and oval shapes and other irregular shapes. There are generally two methods for writing the fan: one is the random cloth method, that is, the glyph content includes the inscription, and try to write it as a circle as much as possible to seek coordination; the other is the method of taking the circle, that is, in the shape of the circle, the text content is written as a square.
Generally speaking, the layout of the fan surface is mostly arranged by long and short row spacing, while the seal book is mostly laid out by the upper and lower empty style, so that the lower part is largely empty, but it appears sparse and ethereal. The folding fan is wide and narrow on the bottom, radial, and should be arranged by means of long and short row spacing. Although the long and short line intervals are used to deal with the dense relationship, it is still necessary to write the upper part of the open point, the lower part to write the tight point, the arc trend layout, the remaining place in the back can be used to inscription, and the final seal is stamped on the left side of the gap. The whole article is dense and complete, the length is staggered, smooth and natural, perfect and harmonious.
This article also selects the fan-faced calligraphy works of 17 famous calligraphers to appreciate and analyze together with everyone: Ma Yifu, Ma Gongyu, Wang Xiantang, Deng Sanmu, Yi Bingshou, Liu Xianxi, Tang Di, Xu Jun, Wu Dongmai, Li Jian, Shen Zengzhi, Chen Hengke, Luo Zhenyu, Zhao Zhiqian, Xiao Hui'an, Huang Baopeng, and Tong Danian.
I. Ma Yifu (1883-1967)
Ma Yifu is a modern scholar and calligrapher from Shaoxing, Zhejiang. He has studied both Chinese and Western, is broad and profound, and is revered as a "master of traditional Chinese studies" and a generation of Confucianism. In addition to poetry, part-time calligraphy, especially good Lishu, thanks to the "Ode to the Stone Gate", most of the handwriting is Xingcao and Lishu.
Appreciation of Ma Yifuli's fan-faced works:
Ma Yifu Lishu fan-faced works
Chapter analysis: Ma Yifu's fan surface is a colored fan, and the bottom is lined with patterns, which is more decorative. The famous stele "Ode to the Stone Gate" of the glyph master Fa Han Li is the work of the monument, as its inscription says, "Han Li is the most amazing and magnificent with the stone gate". The chapter method adopts the horizontal position leaving blank method, writing only two lines along the upper part of the folding fan, and emptying most of the lower part, which is particularly loose, with white winning black. The inscription is slightly lower than the main text, and the number of words is divided into six lines, which is different from the layout of the main text, and it is longer than the main text, so that one is short and one long, one is virtual and one is real, and it is clever.
Works Interpretation: / Imperial Drama / Tonghua / Ken Cheng / Tianhua / Gua Yan / Yukon / Sangkong / System Yuan / XiaoJu / Zu Zi / Guan Da / — Institute / Grant /
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II. Ma Gongyu (1890-1968)
Ma Gongyu, modern calligrapher and painter, from Wenzhou, Zhejiang. The calligraphy is true, grass, subordinate, and seal are all exquisite, the pen is thick, and the breath is pure and elegant. He has served as a member of the Sino-American Association and a painter at the Shanghai Chinese Painting Academy.
Appreciation of Ma Gongyu's Fan-faced Works:
Ma Gong Yu Li book fan work
Chapter analysis: Ma Gongyu's fan surface of this book is the work of the Linhan Monument, using the long and short line spacing staggered layout method, one line is five characters long, the other line is short for two words, one long and one short, and the staggering is clear. The overall glyph layout is word by word, with front and back corresponding to each other, and turns to an arc with the semicircular potential. The inscription line is written to the end, the upper and lower paragraphs are written together, leaving a word space in the middle: "Shi Liangren Brother Fazheng, Yongjia Ma Gongyu". The two stamps are stamped on the left side of the upper and lower paragraphs, which makes it appear to have a certain sense of staggering.
Interpretation of the works: / Jiyin Taishou Wei / Jun'an / Zhenjun Zhen Huangzi / Yuan Rang / From the Bus Ling Lai / Cheng Yang / Ling Bo Ling Li Wu / Guan Jun / Zhen Zun Zi Jun Cong / Dong Ming / Men Sima Lai Cheng / Ying Chuan / Xin Ji Yin Mao Zi / Bo Ju /
III. Wang Xiantang (1897-1960)
Wang Xiantang, modern archaeologist, philologist and calligrapher, a native of Rizhao, Shandong. Proficient in the identification of bells, excavated cultural relics, book editions and porcelain. He is good at poetry, especially calligraphy and painting, and sketches have the afterglow of the Song people.
Appreciation of Wang Xian's Tang Lishu Fan-faced Works:
Wang Xian Tang Lishu fan-faced works
Chapter analysis: Wang Xiantang This painting of the Lishu fan face glyph is strictly disciplined, and the charm of the Famous Han Li Stele "Shi Chen Stele" and "Yi Ying Stele" is obtained, and the pen is rigorous, the knot is square and flat, and the chapter law is sparse. The author uses the horizontal blank layout method, writing only two lines in the upper part of the tso fan, and emptying the lower large area. This layout belongs to the commonly used method of seal book, which is more suitable for the seal book with a more regular glyph, which can make the chapter method staggered and flexible. The number of words in the inscription is more, and the inscription in the upper paragraph is written at the beginning of the main text, and the line is written to the end, which is longer than the main text. The next paragraph is inscribed after the main text, which is treated as a five-line process, and there is a tendency to be staggered. The two-sided stamp is stamped on the left side of the lower section, which looks vivid and vivid.
Interpretation of works: Family Law / Lai Meng / Li Hua / Yuansheng / Invincible / Prevention / Every Levy / Official Election / Shou Duty / Fear of Things / Hundred Stones / Ji Gu /
4. Deng Sanmu (1898-1963)
Deng Sanmu, a modern calligrapher and seal engraver, a native of Shanghai. Seal carving, good calligraphy, all bodies are common, calligraphy is broad and elegant, handsome and thick.
Appreciation of Deng Sanmu's fan-faced works:
Deng Sanmu Lishu fan-faced works
Chapter analysis: Deng Sanmu's painting is a fan of the book group, the pen is strong and strong, and the chapter is harmonious. The characteristics of the chapter method are square in the circle, eighteen characters are divided into four lines and a half written, four words are one line, plus one line and a half of the title, a group of square shapes are formed, and the layout is in the center of the circle, which is interesting and harmonious. The falling paragraph "Yuzi Shan Wen, Scattered Wood" is divided into one line and a half written. Mr. Deng Sanmu's signature is very personal, and the word "scattered wood" is written together, which is quite interesting. The left side of the signature is stamped with a white and a Zhu two-sided seal. At the beginning of the text, the word "bow has" is stamped with a vertical elongated flower stamp on one side.
Works Interpretation: / Bow has a branch / Six photos of the same tree / Lian Pan Xiang Xia / Ran Honey Gas Miscellaneous / Burnt Orchid /
V. Yi Bingshou (1754-1815)
Yi Bingshou, Qing Dynasty calligrapher, Ninghua people of Tingzhou, Fujian. Xi painting, good governance seal, Gong poetry, especially jing li shu and xing cursive writing.
Appreciation of Yi Bingshou's Fan-faced Works:
Yi Bingshou lishu fan-surface works
Chapter analysis: Yi Bingshou This painting is strange and distinctive, the main text accounts for only two-thirds, and the theme accounts for three-percent of the layout using the horizontal position space method, and the space between the two lines of the main text is large, which is extremely sparse. There are more paragraphs, written in four lines, the length is staggered, the line spacing is large, natural and random, and it echoes the main text. The paragraph is known as "Right poem Bingshou less time-sensitive mountain body, the present book is Huaxi Old Uncle Zheng, nephew Yi Bingshou." Jiaqing 8th Year 97". The stamp is stamped to the left of the inscription. The right side of the first word "Jin" in the main text is stamped with a rectangular introductory chapter, which echoes the angle chapter "Mo Qing".
Works explanatory text: Jin Qi/ Peach Blossom / Horse, Jade / Shaft Support / Rong Zhou. / Xiaoyuan / Weeping Yang / Dark, Long / Zhou Chun / Water Depth. /
VI. Liu Xianxi (1896-1932)
Liu Xianxi. Modern scholar, calligrapher, Shuangliu people of Sichuan. Erudite and knowledgeable, the founder of Shangyou Shushu, Shudu people follow a large number of people. Gong calligraphy, fine seal calligraphy and xingcao, the style of writing is close to the Qing Dynasty Bao Shichen. He is the author of more than 100 books and has been a professor at Sichuan University and Chengdu University.
Appreciation of Liu Xianli's fan-faced works:
Liu Xianqi's fan-faced works
Chapter analysis: Liu Xianxi's fan face of this Lishu has obtained the penmanship and meaning of the Famous Han Li Monument "Zhang Qianbei", the glyphs are simple and simple, and the knots are peculiar, winning with danger. The chapter method uses the horizontal posture to leave the air, holding the upper edge of the fan surface, writing two words on each line in a total of twelve lines, so that the entire fan surface is relatively empty and clear. At the end of the text, the four words "side water release person" cannot be written, so they use line writing at the end to make an inscription, but it is very natural and coordinated, and there is no harm to the rules. The falling paragraph is also not written long, basically equal to the main text, the four lines are staggered with each other, the length is arbitrary, so that the lower part of the fan is all empty. The last line is slightly longer and stamped with a letter underneath it.
Interpretation of the work: / Shadow / Yue Yu / Moving Strange / Dust, Stop / Car Four / Gu Tired / Slightly Stretched. / Yi Yu / Independent / Cloud Light / Li, Idle / Fire Field / Side Release Water Man. /
VII. Tang Di (1878-1948)
Tang Di, a modern calligrapher and painter, a native of Wujin (present-day Changzhou), Jiangsu, was the great-grandson of the famous painter Tang Yifen in the late Qing Dynasty. Gong Calligraphy, Shan Lishu, worked as a calligraphy and painting tutor in Beijing for many years, and lived in Shanghai in his later years.
Appreciation of Tang Di Lishu Fan Noodle Works:
Tang Di Lishu fan work
Chapter analysis: Tang Di This painting of the Fan Face Master Fa Han Monument, fresh and elegant, the chapter method is loose, refreshing and clean, and the show is dignified. The layout of the chapter method adopts the horizontal position blank method, and only two lines of text are written along the upper part of the folding fan, so that the lower part of the fan is largely empty. This traditional folding fan layout method has clear primary and secondary, strong contrast between virtual and real, and a good sense of vision. The author treats the inscription as a line, the upper and lower paragraphs are linked together, and the straight book is "Shi Liang respects the brother, Tang Di". The upper part of the inscription is flush with the main text, and the lower part is beyond the main text and is longer than the main text, so that the layout of the chapter is staggered. The name is stamped with a party seal.
Interpretation of the works: / Jiren / Kebo / Menting / Da, Teaching / Young Ancestor / Zhisu / Mai Nan. / Huangshan / Gu zi / WuPing / weak, Li / Yang Bing / word has / Gu Zi. /
VIII. Xu Jun (1878-1959)
Xu Jun, modern scholar and calligrapher, a native of Kaifeng, Henan. Calligraphy is longer than xingshu, with the north stele as the body and the south thesis as the use, the style of calligraphy is broad and strong, and it is a representative figure of the Central Plains calligraphy in the Republic of China period. He has served as a member of the Henan Provincial Council and a professor at Henan University.
Appreciation of Xu Junli's fan-faced works:
Xu Junli's fan-facing works
Chapter analysis: Xu Jun's fan surface of this book from the layout of the chapter, the number of words is not much, but the layout is reasonable, the spacing between the lines is larger, plus the use of horizontal space layout method, so the chapter method is extremely loose and ethereal. The inscription is also relatively short, divided into two lines "Pi Hou Five Brothers Yazheng, Xu Jun". The inscription is flush with the main text, and the lower part of the fan is more empty and wide. The seal of one party is stamped under the name and does not exceed the length of the inscription.
Interpretations: /Zhilu/Shijing/Wei Jun/Chapters/Analects/Book of Han/Zuo Shi/
9. Wu Dongmai (1885-1963)
Wu Dongmai, a modern calligrapher and painter, also known as Wu Mai, was a native of Anji, Zhejiang, and the second son of Wu Changshuo. Good at flowers, inheriting family learning, with a simple and vigorous style. The calligrapher is sealed, thick and composed, and also has a fatherly style.
Appreciation of Wu Dongmai's fan-faced works:
Wu Dongmai lishu fan-faced works
Chapter analysis: Wu Dongmai's calligraphy inherits his father Wu Changshuo, which is characterized by simplicity and thickness, vigor and solidity, and the main text, including the inscription, has the charm of his father's calligraphy. This painting is fan-shaped, the glyph is simple and clumsy, the kerning is small, the lines are dense, and the pen is strong. The layout of the chapter method adopts the horizontal posture leaving the air method, and the text of the two-line Lishu is written as the Hanli famous stele "Zhang Qianbei", written along the upper part of the folding fan, the lower part is empty, one dense and one sparse, one heavy and one empty, forming a strong spatial contrast. The inscription is two lines, and one is long and the other is short, with jagged variations and echoes with the main text. The content of the paragraph is "Pei Yu Ren Brother Zhengzhi, Jie Lin Han Zhang Dang Yin Ling Inscription, Anji Wu Dongmai". The two seals are one zhu and one white, one up and one down, and covered to the left of the inscription.
Interpretation: / Xiao Wu / Shi You / Zhang Qian / Guangtong / Customs / Kaiki / Yu Nan / Bao Ba / Man Xi / Qiang Liu / Rong Bei / Zhen Wu / Di Dong / Jiu Yi /
10. Li Jian (1881-1965)
Li Jian, a modern calligrapher from Linchuan (present-day Fuzhou), Jiangxi, lived in Shanghai. Truth, grass, seals, and sticks are all work.
Appreciation of Li Jianli's fan-faced works:
Li Jianli's fan-faced works
Analysis of the rules: Li Jian's fan face is the work of the famous stele "Ceremonial Instrument Stele" of the Linhan Dynasty, with a fine pen, a strict knot, and a clear chapter, which has both the wind god of the Han monument and the characteristics of his own elegance and elegance. The layout of the chapter method adopts the layout method of long and short row spacing and staggered front and back, one short and one long, staggered. From the overall point of view, the spacing of each word is the same, the cloth is relatively flat and stable, one word and one bit, with the arc of the folding fan, but due to the use of the method of long and short line spacing, it appears to be scattered and vivid. Unlike others, the author does not use the method of first long and then short in the layout, but first short and then long, showing empty changes at the beginning, which is more interesting. The inscription is in three lines, slightly flush with the main text. The content of the paragraph is "On the ceremonial stele, the Yin Virtual Text, the Chinese And French Zhou Chen Mangui, Qin Quanliang, and the Lower Sui Longzang Temple." Mr. Gong Ji is coming, Crane Li Jian" (Li Jianbei Crane Resident).
Interpretation of the works: / As for / Beginner Mo Bu / Ma Feng (Ji) Thought / Sigh (Yang) Shi Jing / Yan Clan / Uncle Of The House / Lu Qin / Li And Guan Sheng / Concubine In / Anle Li Sheng / Clan Zhi / Relatives Difference / Yan Clan /
11. Shen Zengzhi (1850-1922)
Shen Zengzhi, modern calligrapher, Wuxing, Zhejiang. During the Qing Dynasty, he lived in seclusion in Shanghai after the Xinhai Revolution, devoting himself to writing and calligraphy. Calligraphy Sect North Stele, see Chapter Cursive Writing. Zeng Xi commented: "The work is in the clumsy, the magic is in the life, and the victory is in the instability." ”
Appreciation of Shen Zengzhi's fan-faced works:
Shen Zengzhi lishu fan-faced works
Chapter Analysis: Shen Zengzhi's Fan of Lishu is the work of the Famous Monument of Linhan Li", which has the charm of its strange elegance and health. The chapter method is fresh and refreshing, using the horizontal posture blank layout method, although there are only two lines of text, but the law is high and ancient, the pen is pure and thick, and the waves are distinct. The title is divided into three lines, and makes staggered changes, some long and some short, vivid and interesting. The inscription reads "Linxiu Yingsi Lieutenant Yang Mengwen Song Yu Tingjiao Xuan, Hui Weng Nian June 3" (Shen Zeng Zhi Yu, self-proclaimed Hui Weng). One of the two seals is a square "private seal", and the other is an alien, covered on the left side of the inscription, casual and natural.
Works explanatory text: / Junde / Mingming, / Bing Huan / Mi Guang. / Stabbed / Picked up, / Li Qing / Eight Wastes. / Feng Kui / Chengyu, / Suiyi / Yujiang (Strong). /
XII. Chen Hengke (1876-1923)
Chen Hengke, a modern calligrapher and painter seal engraver, a water cultivator in Jiangxi, engaged in art education. Good at poetry, calligraphy, especially long painting, seal carving.
Appreciation of Chen Hengke's Fan-faced Works:
Chen Heng Ke li li book fan works
Chapter analysis: Chen Hengke's spirit of the Fan Face Fan Master Fa Han Monument Gao Gu Qihun is jude's "Zhang Qianbei" square and thick charm, the pen strength is simple and humble, the knot character seeks stability in danger, and the chapter method is loose and flexible. The layout of the chapter method adopts the long and short line spacing method, one line is five words long, the other line is short for three words, one is long and one is short, natural and random, so that the overall chapter layout appears sparse and clear, unique.
Works Interpretation: / Jianhe YuanNian Tai / Year in Ding / Hai March Gengji / Shuo April / 癸 ugly Filial Piety Wu / Shi Gong Brother / Suizong Jingxingkai / Ming Lingshi / Gong Mengfu Li Di / 卯造此 / Que Zhi Qian Fifteen / Wan Sun Zong / Zuo Shi Zi Zhi 4 / Wan Kai Ming /
XIII. Luo Zhenyu (1866-1940)
Luo Zhenyu, modern scholar and calligrapher, a native of Shangyu, Zhejiang. He is good at calligraphy, all kinds of bodies, especially the oracle bone, and the study of oracle bone is profound, and he is a famous book.
Appreciation of Luo Zhenyu's fan-faced works:
Luo Zhenyu lishu fan-faced works
Chapter analysis: Luo Zhenyu's book of this book fan is different, the text of the text is particularly small, only twelve words, and as a line treatment, the use of horizontal space method layout, along the upper part of the folding fan writing, leaving almost two-thirds of the entire fan space, the chapter method is extremely ethereal and sparse. The inscription "Xue Weng Shu Shi Ah ER", a short and bright line of books to the end, slightly longer than the main text. The seal under the inscription is a white inscription ''East Sea Yugong'.
Interpretation of the work: / Enter the filial piety, / Out is the brother, / Be sincere and faithful, / Pan love the crowd. /
14. Zhao Zhiqian (1829-1884)
Zhao Zhiqian, Qing Dynasty calligraphy seal engraver, a native of Shaoxing, Zhejiang. In the inscription, poetry, calligraphy, painting, seal carving and other aspects are extremely profound, the wind god is unique, and has a unique style and achievements, seal carving achievements are particularly high.
Appreciation of Zhao Zhiqian's fan-faced works:
Zhao Zhiqian's fan-faced works
Chapter analysis: Zhao Zhiqian's group fan is quite distinctive, divided into two, half of which is Lishu, the other half is Kaishu, Lishu Linde is the Han stele "Liu Xiong Stele", and the Kaishu Linde is the Wei Stele "Honoring the Ambassador's Stele". The two parts have their own layout characteristics and inscriptions and seals, the book is written in two lines, the letter is written in three lines, there is no author inscription, the upper paragraph is "The Lyre Brother is coming", the title is at the end. The two parts are independent and cooperative, harmonious and natural, unique.
Interpretation of the work: / Shen Hui Wu Dian Qin Qi, / Min Yin Xin Under care. /
15. Xiao Hui'an (1876–1958)
Xiao Hui'an, modern calligrapher, Jiangsu Changshu people. Calligraphy seal, affiliation, line, grass are long, especially known as small seal books, the style of writing is very strong and thick, round and moist, the knot body is alive and changeable, and the agility is free.
Appreciation of Xiao Hui'an's fan-faced works:
Xiao Shu Lishu fan-sided works
Chapter analysis: Xiao Hui'an This Lishu fan layout is quite interesting, on top of one, there are Lishu, Calligraphy and Cursive, and each has its own chapter characteristics, Six and a half lines of Lishu, four words per line, one word and one grid, more sparse. The letters are small and short, and they are also word by word. Cursive writing is numerous and densely spaced, which is in stark contrast to the layout of the lishu and the cursive script. The content of the three parts is very harmonious, and the overall chapter is staggered. "Zi Hou Ren Brother's Genus, Xiao Metamorphosis" is stamped with a party seal under the inscription, and the bell is above the word "Metamorphosis".
Interpretation of the work: / Cold is yù (jacket), / Summer is cold, / From the outside, / Fear of their own injuries / And do not know, hair / in the middle of the body is / body damage. /
XVI. Huang Baopeng (1880-1968)
Huang Baopeng, modern calligrapher and painter, Fujian native. Lishu is a family of its own, calm and solemn, vigorous and ancient. He was the director of Fujian Provincial Library, a professor at Shanghai University, and Shanghai Meizhan University.
Appreciation of Huang Bao's fan-faced works:
Huang Bao's fan-sided works
Chapter analysis: Huang Baopeng's fan face glyph is wider and flat, the trend of eight points is distinct, the left wave is right, and the line spacing is relatively modest, sparse and clear. The layout of the chapter method uses the horizontal position to leave the air, and most of the fan surface is opened, and the ink is left blank, which has achieved a better visual effect. The title of the book is processed in one line, and the book is written in one breath, slightly longer than the main text, in order to seal it, and the main text echoes, so that the end is rounded, and the paragraph is called: "Cane Incense Hall □□ Changle Huang Bao Peng". There is a party seal under the inscription.
Interpretations: / Zōri / Ceremonial Instrument / Music / Notes / Bell Chi / Ser Drum / Thunder Wash / Coveting / Jue Lu / Xiang Huan / 笾柉 / Forbidden Pot / Modification / House Temple /
17. Tong Da Nian (1873-1955)
Tong Danian, modern calligraphy seal engraver, Shanghai Chongming people. Booksellers, especially fine seals, lishu. The seal carving makes good use of the cutting knife method, and likes to use zhongding characters into printing.
Appreciation of Tong Danian's Fan-faced Works:
Tong Danian Lishu fan-faced works
Chapter analysis: Tong Danian this Lishu fan face glyph special stretch and flowing, eight points to carry out, Qing Yi Junxiu has a strong spirit, get the Han stele "Shimen Song" and "Cao Quan Stele" and other charm. The chapter method adopts the horizontal posture blank method, the main text is divided into fourteen lines, each line is only written with two words, the word spacing is large and the line spacing is small, which is particularly sparse and ethereal. The number of inscriptions is more, and the line is written at the end, slightly longer than the main text, and the content of the paragraph is "Koike Jinshi Jiazheng, 癸未秋, Tong Da Nian □ Han Mu 觥". The word "Great Year" is written together. At the end of the paragraph, there is a party seal pressed on top of the word "wooden touch i". The lower right corner of the fan is stamped with a special-shaped angle stamp to fill the gap and coordinate the chapter.
Works Interpretation: / Please Dao / Qizhang / Song Yan / Nian Zheng / Zi Fang / Wei Yi / Shou Shi / Bu Chang / Zhou Qian / Qiu Zhao / Ru Qing / Ye Zhan / Shi Gao / Pei Guan /
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