Fang Bi is the Soul of Weibei's Writing Style —— On Weibei's Fang Heng's Writing

Abstract: From the angle of view, whether Wei Bei's "Fang Bi" was carved by a knife worker at will or according to the original ink has always been debated. Starting from the history of calligraphy and the evolution of characters, this paper puts forward the collection rules of horizontal paintings by Li Shu, Wei Bei and Tang Kai, and reveals Wei Bei's writing methods. Now this research result is made public in order to teach orthodoxy. Six, the writing of the square.

Keywords: Fang Bi ink tool brushwork three-point pen

First, the square pen and ink and knife.

? Literature is the foundation of academic research. The study of calligraphy must be meticulous and have sufficient evidence. Lu Fusheng once said a very pertinent sentence: "Some scholars have been studying all their lives, and their whole research has become an attic in the air because the key documents have not been seen." 1

? In the summer of 20 10, the author went to Dunhuang for cultural and artistic investigation. In the exhibition room of Dunhuang Tibetan Sutra Cave, he saw the ink of Zheng Xuan's annotation of The Analects of Confucius. Although this work is not chronological, it has obvious characteristics from the transition from official script to regular script.

? The ink of Zheng Xuan's annotation in Volume II of The Analects of Confucius is about the same size as that of 16, with a vertical line of 17, a large line of 1 and two lines of fine print, about 600 words. This kind of ink is characterized by regular script without official intention, which should be written by literati, and it is a combination of northern and southern calligraphy styles, large characters and small characters, and a combination of square and round pens.

? This ink written on paper, like "Twenty Paintings of Longmen" (stone carving) and Gaochang Brick Record (ink written on bricks), has a pen-using feature: many strokes start and close with sharp corners, and the corners at the turning points are obliquely folded. This is a pure Weibei pen. It shows that writing angular characters is the function of the brush itself and the ability of calligraphers to write calligraphy like knife carving through certain techniques. It eloquently proves that Fang Bi's writing is the function of the brush itself.

? For nearly 300 years, the theory of calligraphy has been the focus of debate among calligraphers. Because we didn't find Wei Bei's ink, and we couldn't reproduce Wei Bei's bold style with a brush, some people even thought that Wei Bei Fang Bi was a knife worker. With the discovery of archaeological and historical documents, especially Dunhuang ink, the discovery of silk calligraphy on Han bamboo slips provides accurate time, space and orientation for the study of calligraphy and engraving, and opens the door for the study of inscriptions. Therefore, we must re-examine the past conclusions with new documents and new perspectives. Mr. Wang Yuchi once put forward an important conclusion. He believes that "the ancients probably used a simple and easy writing method to naturally write a knife-like writing effect like stone, but this method has long been lost." Therefore, discovering the lost brushwork is the key to restore Wei Bei's true colors.

Second, the cutter is loyal to the original work.

? There are many criticisms of Wei Bei's calligraphy style in history. The main reason is that Fang Bi's inscriptions were carved by sculptors at will, which is not the true face of calligraphy. For example, in order to save trouble, when a round pen is cut, it is often changed into a square fold. It is believed that the figures in Longmen Statue give people the impression that Jun Fang is tall and straight, but rigid and angular, and its Fang Bi should be caused by the sculptor.

? The advantages and disadvantages of calligraphy are self-evident, and the level of seal cutting is uneven. This tablet has been carved for thousands of years. Why did Wei Bei's calligraphy style only spread at that historical stage? Hua Rende said, "It disappeared with the demise of the Northern Wei Dynasty ... it was popular for forty years before and after, and then it was silent for a thousand years" .3. Why didn't craftsmen carve Fang Bi for thousands of years?

? Engraving tablet is a combination of calligraphy and carving skills. It requires the combination of the original pen and the stone (wood) carving knife, and the knife marks just show the pen and ink, so that the carving is both in form and spirit. Due to the superb engraving and rubbing technology, its rubbings have always been considered "not as good as the original". Ma Ziyun is an expert on inscriptions. He said in Introduction to Inscriptions and Analysis of Inscriptions, "According to a seal engraver, if you can engrave with original ink, you can engrave 95% of the spirit of the text." four

? Mr. Sha Menghai believes that a good sculptor, "carving, carving with a knife, is naturally round. If it is difficult to keep the brush round, it is especially difficult to keep the brush backward, soft and delicate. " five

? According to Sha Lao's carving standard, the first statue of Gong Ping should be a masterpiece written and carved by a master. The calligraphy of this tablet is very vivid. Fang Bi's tall and straight, round pen is smart and round, and even the points are engraved with deep feelings, such as avoidance, hope, admiration, Italy, province, Fiona Fang, straightness, greatness, density, strangeness and spirit, all of which reproduce the writer's technical feelings, writing style and spirit.

According to Mr. Sun Boxiang, "A sculptor can only carve the surface, but never the side. There are thick things on the side of the stone statue, and that kind of heavy lettering is irreplaceable. Zhu Yizhang is definitely a master of calligraphy, I am sure. " six

Third, Fang Bi's brushwork is lost.

? When I compiled the Dictionary of Calligraphy in the Northern Wei Dynasty in the 1980s, I noticed that the calligraphy styles of the Eastern Wei Dynasty, the Western Wei Dynasty and the former Northern Wei Dynasty were completely different. From the vigorous Luoyang style of the Northern Wei Dynasty, which represents the characteristics of the times, to the Eastern and Western Wei Dynasties, the Northern Qi Dynasty and the Northern Zhou Dynasty, the calligraphy style has undergone tremendous changes.

? At the end of the Han dynasty, fonts evolved, and official scripts, official scripts and regular scripts circulated in an orderly manner, and official scripts were related. Entering the Northern Wei Dynasty, Weibei regular script entered a new stage and formed a unique style. Kang Youwei praised Wei Bei's "Ten Beauties": "Bold and powerful, the weather is muddy, the brushwork jumps, the stippling is heavy, the posture is strange, the spirit is flying, the interest is full, the ancient method is profound, the structure is natural, and the flesh is full." eight

? Strange changes have taken place in calligraphy in the Eastern Wei Dynasty and the Western Wei Dynasty. Losing the natural, resolute and solemn characteristics of the Northern Wei Dynasty, the strokes of official script appeared, and the original and official script were mixed together. Jong Li, his representative work, took Confucius Temple Monument (54 1), Cao Zijian Monument (593) and Tang Yong Classic Records as elective courses, and suddenly a large number of variant characters and other characters appeared, which complicated the characters. Han Li's authentic calligraphy with impure skills is combined with official script, and some whole-word calligraphy and official script are randomly mixed, which makes the calligraphy extremely inconsistent. This extremely abnormal evolution process has caused a fault in the history of calligraphy. Kang Youwei said, "People can't be like Fang Bi. For thousands of years, they were indifferent to this. " ? The tradition of the Northern Wei Dynasty was almost interrupted.

? Regular script comes from various cursive scripts in Cao Li and Han Dynasty. To a great extent, regular script has abandoned the brushwork of picking up the pen, and gradually developed into a duplicate book with both cursive strokes and official script traces and modern calligraphy characteristics.

? From the Han Dynasty, official script was gradually transformed into regular script, and its transition was quite slow. For more than 300 years after the Wei, Jin, Southern and Northern Dynasties, the focus was on the pen receiving place of horizontal painting (because it is the rhythm point in writing and can lead the strokes behind). ) This font evolution process can be roughly divided into three stages.

? The first stage: official script: the font is flat, its left and right are wavy, extremely scattered, horizontal and vertical, and the pen is solid. This "knife-folding head" is the basic pen-using feature of Han Li, Li Kai and Uncle Kai. Use the pen "dovetail" (one action is finished), and draw the tail pen with the wave potential gradually increasing. Han Li silkworm swallowtail official script formation.

? The second stage: early regular script: for example, Lou Dongpai bamboo slips and ink calligraphy at the end of the Eastern Han Dynasty were sealed at the right end of the long horizontal direction with a pen and hung down. The left tip is thin and the right weight is heavy (one action is completed), which obviously helps to connect with the next stroke or word.

? The third stage: Weibei: The stone statue (498) was the first to get rid of the official law (but the official intention still exists). Completed the evolution from official script to regular script, and achieved a historic leap. Draw sideways (official script is parallel), and close the pen to the right and down (official script to the right and up). It should be an action for Wei Bei to draw a pen horizontally. At that time, writing was only for practical purposes, and there was no intention to create it into calligraphy.

? The development of official script from horizontal to vertical, the evolution of regular script, running script and cursive script is a major change in the history of calligraphy.

? Now Tang Kai and Wei Bei write the same thing. The horizontal writing emphasizes three paragraphs too much from the beginning of writing, especially the closing of the pen. There are four movements in the pen-closing position, four times to stop the pen, five times to the right, six times to stop the pen slightly and seven times to close the pen.

? Wei and Jin calligraphy did not pay much attention to collecting pens (only one action), but paid more attention to the intermediate stage (spreading pens). In the Tang Dynasty, the regular script method emphasized the action of closing the pen (four actions), and the middle part was slightly thinner (lifting the pen and pressing the pen).

? From the point of easy writing, official script is faster than seal script. Later, it was found that although the swallow-tail of official script had decorative effect, it affected the writing speed. For convenience, this gesture gradually changed to convergence. It is much more convenient to write horizontally in regular script than before.

? Removing the "dovetail" regular script has five advantages: first, it is simple and convenient, second, it is smooth, third, it has a sense of grass, fourth, it changes from horizontal to vertical, and fifth, it promotes the generation of cursive and running script fonts.

? Lishu horizontal painting brush to the right, the middle part of the expansion. The action of closing the pen (horizontal potential).

? Wei Bei horizontal brush to the lower right, spread out in the middle (official intention still exists), a recruit pen (vertical potential).

? Tang Jie's horizontal painting is to draw strokes into strokes, push them in the middle (to get rid of official meaning) and brush them (to cover the potential).

? Four Action Problems in Tang Kai s Horizontal Painting;

? 1, because the action is not simple, there is a tendency to draw, copy, fill in and draw.

? 2, affecting the writing, inconsistent gas, not smooth, destroying the pen power.

? 3, not natural enough, become the pursuit of perfection.

? 4. There is a tendency to be stylized, standardized and artistic, which makes calligraphy a repetition of pure skills and will be mediocre and boring (from the standardization of Yan characters to the artistic words of Song Dynasty).

? Mr. Ouyang thinks: "After writing the Tang tablet, it is difficult to get into the rules." Once the rules are established, it is difficult to get rid of them completely. " 10

? Tang Gengxu said in "The Phase and Content of Pen Diagram", "Before the ancients talked about (calligraphy), there was Wei Heng who talked about calligraphy without talking about dharma. Book potential, the starting point of book theory, is also the initial formation of fonts and the original motivation of using pens. Fonts and pens are from the trend. " 1 1

The "potential" of calligraphy is the key to the initial formation of glyphs, and it is also the original motive force to advocate the simplicity of brushwork, which makes calligraphy full of movement and vitality. It's easier to start a pen than to close it. After closing it, it's difficult to return to the original stroke and prepare for the next one. The strokes are particularly smooth. Careful observation of ancient excellent works, the secret is here. Tang Jie's complicated and rigorous pen-collecting action, over-emphasizing pen-collecting, hiding the head and protecting the tail, and focusing on the use of characters, destroyed the brushwork, which led to the brushwork that "the structure can't be changed, the crane is broken, and it is too neat" and "encountering the first snow" has not died out, but it has been scattered, and the ancient meaning has been left. And Yan Liu repeatedly hit, but also completely annihilated! " 12

? Weibei calligraphers have long been influenced by pavilion style and bound by Tang Kai's calligraphy style, thus forming Weibei calligraphy with Tang Kai and Iron Blood in Qing Dynasty.

? The complicated laws and regulations stifled the artistic life of calligraphy, laid a solid closed theoretical foundation, and consolidated the stable framework of calligraphy creation under the active advocacy and practice of the Tang Dynasty. This framework has lasted for thousands of years, so far no one dares to fundamentally deny it and shake it. Deep-rooted inertia mistakenly thinks that this is a traditional method of using a pen, which eventually leads to the appearance of "pavilion" and makes calligraphy enter a dead end. Several masters of epigraphy in the Qing Dynasty have superb skills, which are beyond the reach of modern people. However, they failed to reproduce the bold style of Wei Bei and Fang Bi with a brush, and they suspected that Wei Bei and Fang Bi were carved at will by knife workers.

The pre-Tang Dynasty and the post-Tang Dynasty are important watershed in the history of calligraphy. After the Tang Dynasty, the ancient law has disappeared, so it is not feasible to write the road to Weibei with Tang Kai's method.

Fifth, tools lead to changes in the style of books.

? Before the Song Dynasty, as Yang Wentao said, "All brushes are based on purple hair, and the brush tube is not thick, but the brush hair is short and thick. There are four standards: hard core, capillary, sharp as a cone and chisel. The refill is hard, and even there is something similar to jujube wood core in the center of the bristles, so it is called jujube pen. " ? 13

After the Song Dynasty, great changes have taken place in the writing brush. The technique of writing brush is against the old habits, and gradually there are long edges, soft edges, virtual edges, loose edges and soft edges, which leads to a series of changes in the style of writing.

? When we study the inscriptions of past dynasties, we seldom study the relationship between the tools used by the ancients and the handwriting, so the conclusions we draw are often inconsistent with the facts. What kind of pen to use is very important for writing. The front is long and the back is short, and the softness and hardness of bristles will inevitably form different styles at the turning point of lifting pressure. The ancients said, "If a worker wants to do a good job, he must sharpen his tools first." The choice of writing tools is particularly important.

? In the process of writing and teaching, the author realized that only a pen with a belly can show an opinionated style like the Stone Statue.

? Standing at the critical moment of calligraphy reform, Zhu Yizhang boldly changed his pen with profound artistic accomplishment, and wrote a resolute, angular and domineering Fang Bi Weibei. The brushwork of Stone Map is tight and impenetrable, and the overall demand requires innovative brushwork. The only way is to increase the intensity, press the brush down and increase the width of the brush. Zhu Yizhang created a three-point pen for this.

? The so-called "dividing" pen is to divide the milli-front from half (pen belly) down into three equal parts, and each part is a dividing pen. Song Huizong's thin gold body is divided into one pen, Chu Suiliang's ink mark is slender and beautiful, and Ou Yangxun's handwriting is dangerous and vigorous. Only with three-point pen can we write vigorous and powerful writing. Zhu Yizhang explored the potential function of the brush itself and developed the function of the brush from the tip, waist and root to the extreme, which was a major breakthrough in the history of calligraphy. From dichotomy to trisection, although it is only a little further down, it has taken a step that predecessors can't cross.

? If the ball floats on the water, if you press it down, the force is small and it will rebound slightly. To push the ball completely into the water, you must increase your strength. As soon as you let go, the ball will inevitably pop out of the water and exceed the degree of pressing. This is a physical phenomenon. The deeper the pen is pressed, the greater the wrist force of the pen needs to be controlled, and the higher the control skills.

? Long-pointed pen is slender and has no belly, small waist and poor elasticity. If you press it again, the front will not bend, and the written words will have no edges and corners. In this way, when writing brush strokes, the front end actually runs on top of the horizontal painting, rather than the flat strokes written in the middle of the painting.

? In the center stroke, the pen tip runs along the dotted line, always in the center line, the pen ink permeates evenly, and the stroke texture is rich.

? You must use a brush to write strokes. For example, in Wei Bei, after the pen is started, besides the natural elasticity of the pen, the nib focuses on the paper. Appropriate external force is added to the front end to enhance the natural force of the front end and gain momentum against the front end. Because the front side touches the paper up and down, the force is different, and the pen is convenient to spread out. The direction of stroke expansion is consistent with the direction of stroke (running along the center line). The vigorous brushwork proves that Fang Bi Park Hao is also pen-centered.

Mr. Chen Zhenlian pointed out in the article Line-the Genie of Art: "Calligraphy lines must have a three-dimensional sense, with a pen at the center and ink like' millet beads', and it is opposed to being thin and frivolous. These are the artistic goals pursued by calligraphers of all ages, and it is precisely with this goal that there will be a series of calligraphy pen systems such as center, hidden front, folding square, round brushwork and auxiliary brushwork. " 14.

? The essence of stone statues is thick but not square. How to reflect the thickness is to write the word "drum" and adhere to the fundamental principle of using a pen by the center. It is easy to write rough but difficult to write, so when writing wide strokes and horizontal strokes, most of the front tips are easy to run on the top of the horizontal painting, rather than in the middle of the strokes, forming a side front pen, which can not give a three-dimensional sense, which is also the main reason why you can't write a vigorous and powerful style.

? Stone statues adhere to the pen of the center, dare to combine the two organically with wings, and make angular, resolute and domineering become the representative of Weibei.

? Wang Xizhi couldn't write Preface to Lanting with a long pen. If Zhu Yizhang used a long front pen, there would be no sharp-edged Fang Bi. It can be seen that what kind of pen to choose to write Weibei is the key. Long front and short front have their own advantages and disadvantages. Its essence is a question of which era and which brushwork are used as the basis and standard for learning books.

Precautions:

? 10, excerpted from Ouyang Zhongshi's Some Experiences in Learning the Epitaph of Mrs. Fei of Wei Jiangyang (Calligraphy Learning Counseling, sponsored by China Calligraphy and Painting Correspondence University, fifth issue).

Some people think that Fang Bi's horizontal paintings are easy to write, but if we study them deeply, this is not entirely correct. Judging from the characteristics of the brush, I don't know how to write casually, but it is naturally sharp and round, and it will never form a square stroke. You can never write Fang Bi, let alone the thickness of Fang Bi.

The handwriting is horizontal, the pen heart is not like writing, and the edge of the pen is not thick. It is easy to write the shape of an image, but it is difficult to write thick and three-dimensional sense. The special feature of the stone statue is that it makes good use of the wing, with sharp edges and corners at both ends, and the whole character is mainly written in the center, which is the complementary and organic combination of the center and the wing. To use a pen, you must be a winger, a thick pen, and a center. Only in this way can you achieve rich artistic effects. The stone statue is a regular script font in shape, but it still maintains the brushwork of official script in its bones, so it is more powerful, thicker and more durable. If you can learn this tablet with the brushwork of official script, you will get its spirit.

Should Fang Heng write like this? The author thinks that the pen should start from the side, spread out in the middle, spread out in Qi Li and spread out on paper like a writing brush. When the pen is closed, the nib is still in the shape of a brush. You don't have to wait for the pen tip to close, and writing with the side tip becomes an angular horizontal painting. Using the flank with only one action (> two hypotenuses are as effective as cutting an axe with a knife) is simple and easy, and it is relatively easy to write Fang Bi without destroying gestures.

Wei Bei's "oblique drawing tight knot" brushwork is to find a balance center of gravity from oblique front to lower right on the horizontal painting, which has nothing to do with the height of the desk and chair when writing.

Some people say that it is not good to write cursive script like Wei Bei. Wei Bei couldn't write it with Tang Kai's technique, but Wei Bei drew the pen horizontally to the right, and the pen tended to be vertical, so there was no possibility of damage. The successful experience of Yu Youren cursive script is worth learning, but writing Wei Bei has nothing to do with bad cursive script.

Seven. abstract

Seeing Fang Bi in the corner is a deep-rooted view that craftsmen follow one's inclinations. The author tries to restore the true colors of things through analysis-how to write horizontally, from point to surface.

First of all, this aspect involves whether Fang Bi Weibei is a famous calligrapher or a famous engraver. Through the analysis of the ink found and the verification of the writing skills found by the author, it is proved that there is ink first and the knife worker is only loyal to the original. Only by reaching a consensus on this issue can we further analyze and discuss Fang Bi's skills.

Fang Bi's thought that craftsmen can do whatever they want has its historical origin. One is the change from official script to twist stroke, and the other is the change from short stroke to long stroke, which leads to unsmooth strokes. When you close the pen, you can only finish the modeling by tracing and filling.

Fang Bi, who sees every corner, sees every corner. According to common sense, a brush cone can't be written. However, the answer still depends on tools to solve it. The writing brush is a cone, although it is pointed and round, it forms a brush (neat) after being spread out. When the winger starts to write, the center can write three-dimensional sense and the winger can write acute angle. The whole process of using a pen does not use a round pen. The conventional method, twisting and pressing, only uses the flank, center and flank to complete Fang Bi's whole writing. The brush not only has the function of writing Fang Bi, but also has the skill of writing ancient Fang Bi. This is a conclusion, a scientific conclusion through the analysis of Gu Mo and the writing skills discovered by the author.

Eight, Fang Bi and the round pen

In ancient times, there was no such thing as inscriptions, only the difference between seal script, official script, regular script, running script and cursive script, but the history of calligraphy developed along two tracks.

The first is the round pen brushwork. This brushwork, represented by Wang Xizhi and Yan Zhenqing, is a main line of development (new method). After the Tang Dynasty, due to the over-emphasis on statutes, the trend of calligraphy was quite obvious, and it was almost depressed in the middle of Qing Dynasty. Judging from the fact that Tang Kai's brushwork is still used to write Weibei on the inscriptions in Qing Dynasty, this brushwork is still dominant.

The second is the Fang Bi method. It originated in Han Li, Li Kai and Weibei. This kind of brushwork is a main line (ancient method) in the development of Fang Bi Park Hao's three-point pen. In the Northern Wei Dynasty, Wei Bei had the characteristics of sharp-edged, angular, resolute and generous. For example, the Eastern Wei Dynasty and the Western Wei Dynasty did not inherit the tradition of the Northern Wei Dynasty, so there was a fault in the history of calligraphy and it was silent for thousands of years.

Whether the historical task of Fang Bi's ancient law has ended, the author thinks that "ancient law" still has a lot to do, the fine tradition of China's calligraphy has yet to be inherited, and there are still a lot of treasures to be explored and developed. We have a long way to go to the classics and touch their souls.

In Qing Dynasty, Jin Nong, Yi Bingshou and Deng inherited their predecessors. They are all called Fang Bi in official script, and they took the lead in raising the flag of Fang Bi. They emphasize the use of pen, highlight the expressive force of strokes, endow Lishu with rich and simple aesthetic essence, embark on the road of innovation, and add a brilliant stroke to the history of calligraphy.

Since the Qing dynasty, the study of steles has been extremely unsuccessful because everyone has been twisting and writing about Weibei. Yu Mingshan, a contemporary calligrapher, writes Weibei, while Kang Chengyuan, a Beijing calligrapher, writes inscriptions with prose style, which is vigorous, majestic, pure in bone rhyme and extraordinary in bearing. Their works reproduce Fang Bi's heroism, surmount obstacles that some people think insurmountable, and become famous figures in Weibei.

There are many round pens in all previous dynasties, but there are few in Fang Bi. Although Fang Bi's writing is difficult to break through, once it breaks through, it will surely set up a new monument in the history of calligraphy.

Nine Fang Bi's innovation

The development history of China's calligraphy for thousands of years has always revolved around the evolution of Heyuan pen. Wang Xizhi's running script and Yan Zhenqing's regular script are the epitome of the round pen (a new method), which initiated and led the book world for thousands of years. Li Shu, Li Kai and Weibei (ancient methods) are dominant. After the Northern Wei Dynasty (534), the calligraphy styles of the Eastern Wei Dynasty and the Western Wei Dynasty changed suddenly, and there was a fault in the development of Fang Bi. /kloc-for 0/500 years, a series of disputes in the history of calligraphy have focused on Fang Bi.

Mr. Pan Boying once pointed out: "As far as the development of writing and calligraphy in China is concerned, official script is a great stage of change. Even today and in the future, it is not an exaggeration to say that they are all official scripts, because cursive and regular script are popular calligraphy for more than 1000 years. They come from official script in form ... especially in technique, and they are also various changes of official script ... China's calligraphy has formed the next one since it came into being. 15

Although the seven notes of music, melody and rhythm are ever-changing, they remain unchanged. Brush has four functions (sharp, round, neat and healthy), and all the changes in brushwork are among them.

You can't write Weibei and Fang Bi with a round pen. They are all written, unlike Stone Statue (including round pen). Fang Bi can't use it completely, and neither can a round pen. The highest realm of calligraphy is the combination of Fang Bi and round pen. For example, the Chinese pen in the statue of Duke Shiping only accounts for one tenth of the pure text, which highlights Fang Bi's paintings and forms the main style. It uses a round pen, which is the soul of this monument. Its superb lies in the perfection of Fiona Fang. This is a classic of Fiona Fang.

Wang Xizhi's running script and Yan Zhenqing's regular script, despite their different styles in round pen creation, have both set up a monument in the history of calligraphy. Zhu Yi Zhang also set up a monument in the history of calligraphy with Fang Bi regular script.

Throughout the history of China's calligraphy, it is a history of connecting the past with the future and bringing forth the new. We study, discuss and analyze Fang Bi, not to belittle the Tang Dynasty, nor to suppress calligraphy. Fang Bi and Bi Yuan are representatives of two different schools and styles of calligraphy in China. They can't replace each other, but can only be combined with each other. It is not the combination of inscriptions (whether the silk books on Han bamboo slips belong to posts or monuments), but the combination of seal script and calligraphy. The combination of Fang Bi and round pen is the combination of various brushstrokes and styles of's seal script in Cao Li.

label

The author's analysis above aims to inherit the art of Fang Bi, a treasure in China's calligraphy art treasure house, and on the basis of theoretical discussion, try to decipher Fang Bi's techniques in practice, not only in writing style, but also in writing thickness. The author began to compile Weibei Calligraphy Dictionary in 1980s. Through years of study and research, he gradually summed up a set of methods to write Fang Bi in teaching and calligraphy practice. By analyzing the main contradictions and aspects of Fang Bi's art, we can draw inferences from Fang Bi's horizontal writing, and the rest will be solved. (At the invitation of Tianjin Yangliuqing Painting Society, edited and analyzed, this book has a detailed analysis of brushwork, word formation and composition. The above is just a family statement. Due to the limited level, I hope colleagues will correct me.

Precautions:

? 1, from Calligraphy, 200 1, 10th issue, page 6.

? 2. Excerpted from the Book Spectrum (1984) and Wang Yuchi's "Gao Chang Brick Record on Wei Bei".

? 3. Excerpted from China Calligraphy, No.6, 2000, On Weibei Style by Hua Rende.

? 4. Excerpt from the fourth issue of Books and Paintings

? 5. Excerpt from Writing and Engraving of Book Traces in the Jin Dynasty and the Southern and Northern Dynasties (Book Spectrum, No.4, 1987).

? 6. Excerpt from Analysis of Calligraphy (China Calligraphy, the first issue 1999).

? 7. Compile a large-scale reference book, The Dictionary of Calligraphy in the Northern Wei Dynasty, and systematically study calligraphy from the Northern Wei Dynasty to the Sui Dynasty. Collect and sort out more than 4,300 inscriptions 1 100, which is equivalent to the scale of four volumes of Cao Zi Bian. For example, there are as many as 450 words "Wei", each with its own similarities and differences. Many publishers speak highly of it.

? 8. Excerpt from Kang Youwei's Talk about Guang Yi and Zhou Shuang.

? 9. Excerpt from Kang Youwei's Talk about Guang Yi and Zhou Shuang.

? 10, excerpted from Ouyang Zhongshi's Some Experiences in Learning the Epitaph of Mrs. Fei of Wei Jiangyang (Calligraphy Learning Counseling, sponsored by China Calligraphy and Painting Correspondence University, fifth issue).

? 1 1, from Huang Feng's Potential Aesthetic Connotation (Calligraphy,No. 1 1 issue, 20 10).

? 12, taken from Guang Yi and Zhou Shuang by Kang Youwei.

? 13, excerpted from Yang Wentao's Questions about Writing Etiquette and Tools (Calligraphy 1995 No.5).

? 14, from Calligraphy Expo

15, from On China's Calligraphy (Calligraphy 199 1, No.4, p.75).