Cao Quanbei s book, how to write it for a long time?

Xin character writing: > year character writing:

The ugly characters of other calligraphy are written in Li:

"Cao Quan Monument".It is one of the representative works of the complete maturity period of Lishu in the late Eastern Han Dynasty, which records the events of Cao Quan's suppression of the Yellow Turban Uprising in the late Eastern Han Dynasty, and is an important historical material for the study of the peasant uprising in the late Eastern Han Dynasty.

It is also one of the few works in the existing Chinese Han Dynasty steles that are relatively complete and have a relatively clear font. Its knots are even, with the pen square and round, with the round pen as the main, graceful, wonderful and colorful, is the representative of the beautiful style in the Han Dynasty.

Definition of <> words: Xin Chou Nian is one of the first Jiazi in the lunar calendar, such as ·· 60-year cycle). In ancient China, the sky was the mainstay, the earth was the subordinate, the heaven and the stem were connected to be called the heavenly stem, and the earth and the branches were connected to be called the earth branch, which together was called the heavenly stem and the earth branch, referred to as the stem branch.

There are ten heavenly stems, namely, A, B, C, D, E, G, G, XIN, NON, and DEC; There are twelve earthly branches, which are Zi, Chou, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu, and Hai. The ancients classified them as Jiazi, Yichou, and Bingyin. That is, the heavenly stem turns six times and the earth branch turns five times, exactly one cycle) is matched in order without repeating, from Jiazi to Guihai a total of 60 pairs, called a Jiazi.

The full name of "Cao Quanbei" is "Han Heyang Ling Cao Quanbei", because Cao Quan's character is finished, so it is also called "Cao Jingwan Monument".

Cao Quan's Monument was erected by Wang Chang and others of the Eastern Han Dynasty for the meritorious deeds of Cao Quanji. This monument was erected in October of the second year of Emperor Ling of the Eastern Han Dynasty (185 years). 20 lines of stele yang, 45 words per line; The inscription of the stele is 33 lines, divided into 5 horizontal columns.

The body of the book is an official book, and the seal has not existed for a long time. The whole monument has a total of 1165 words. The monument is 253 centimeters high and 123 centimeters wide.

This stele was unearthed in Xinli Village, Heyang (now Heyang, Shaanxi) at the beginning of the Ming Dynasty, and the stele stone was broken at the end of the Ming Dynasty, and what people usually see is the rubbing after the break. It is now preserved in the Forest of Steles Museum in Xi'an, and the Palace Museum in Beijing and the Shanghai Museum have the Ming rubbing.

Cao Quan's monument is generally written in the form of official scripts.

The following is how to write about Cao Quan's monument:

Dot. The pen is hidden, and most of them are rounded. The sharp point of the pen is slightly square, shaped like a wooden wedge, and the front should not be too sharp. The long points are also mostly pointed tails, and the pen should be closed slowly, and the shape is sluggish.

The dots play an auxiliary role in the glyph, and the direction and posture change with the structure. When there are multiple points in a word, there is a change in it; Note that there is a clear sense of order when using the unified point in combination.

Across. Lishu horizontal painting has the main and secondary divisions, the main horizontal form is clear, and left and right play. The main brushstrokes of Cao Quanbei have two categories: horizontal shape and covered boat shape, and the pen is hidden in the front, but the form has the change of circle, square and bend.

The main pen is gradually pressed in the second half of the pen, and then the pen is raised, and the pen should not be too fast, and the tip of the pen is not sharp.

In some glyphs, due to structural limitations, the horizontal drawing can only be played to the second line of words, although the horizontal drawing is played to the right, with the form of the main horizontal stroke, but also because of the structural limitations, the left and right exaggerated play is not made.

In addition, there are various forms of horizontal strokes with sub-brushes, among which there are also changes in the horizontal shape and the shape of the covered boat. Compared with the horizontal drawing of the main brush, the horizontal drawing of the secondary stroke is peaceful, and the brushwork does not change much. Most of Cao Quanbei's secondary strokes have the characteristics of heavy in the front and light in the back, and the pen is slightly sluggish and sharp.

Vertical. Cao Quanbei's firm drawing pen is mostly hidden in the front into a circle, and the pen is pointed and vertical like a "hanging needle", but the tip has a sharp and round change. The pointed tail is like a hanging needle, but the pointed end is not sharp. Another type of "hanging dew" is vertical, and after starting the pen, gradually press the front downward, and close the pen to return to the front.

Most of the vertical paintings in Cao Quan's stele have little change in gestures, and the head and tail are round. Note that the vertical paintings are basically vertical, sometimes with occasional changes, but it should not be obviously tilted.

When encountering two vertical glyphs, Lishu often plays the left vertical painting into a bent tail shape to seek changes, such as the "door" character glyph. The upper part of the curved tail is written vertically, and it is bent to the left in the middle or tail, and its shape has various changes.

The vertical paintings on the left and right sides of the structure are also mostly written as curved tails, such as newspapers, support, virtue and other words; The four lines are examples of characters in the center of the vertical painting as a curved tail.

This kind of curved tail erection is reverted to vertical in later regular scripts; Some changes are apostrophes; Some evolved into vertical hooks, so it is not possible to infer the writing of the official script from the perspective of regular script.

Summary. The structural characteristics of Cao Quanbei are mainly manifested as sparse and flat, stretching and unrestrained, the glyphs are mostly horizontal, there are long and square knots between them, the horizontal opening is smooth, and the longitudinal implication is stable, so that the structure appears graceful and generous, elegant and colorful.

The stretch of the body, the indulgence of the pen, and the mellow attitude of the calligrapher reflect the calligrapher's artistic ingenuity and creative confidence in seeking stability in turmoil and seeing unrestrained in freedom, so that the work is beautiful and heroic. The unique personality and specific connotation of the elegant style of the monument are far from being comparable to other Han Li.

How to write the stele of the orthography of the book.

Cao Quan Monument "full name "Yang Ling Cao Quan Monument", the stele is 253 centimeters high, 123 centimeters wide, Lishu, a total of 20 lines, 45 words in a full line, there are 5 columns of stele yin, the seal is lost. In the Eastern Han Dynasty in the second year of Zhongping (AD 185) in October, the Ming Wanli hail was unearthed in Xinli Village, Shaanxi Antma Xiheyang (now Heyang, Shaanxi), and in 1956, it was moved to the Shaanxi Museum Stele Forest.

Cao Quan Monument "full name "Yang Ling Cao Quan Monument", the stele is 253 centimeters high, 123 centimeters wide, Lishu, a total of 20 lines, 45 words in a full line, there are 5 columns of stele yin, the seal is lost. In the Eastern Han Dynasty in the second year of Zhongping (AD 185) in October, the Ming Wanli hail was unearthed in Xinli Village, Shaanxi Antma Xiheyang (now Heyang, Shaanxi), and in 1956, it was moved to the Shaanxi Museum Stele Forest.

The structural characteristics of "Stupid Fight Cao Quanbei" are mainly blindly manifested as sparse and flat, stretching and unrestrained, the glyphs are mostly horizontal, there are long and square knots, the horizontal opening is smooth, and the vertical is subtle and steady, so that the structure appears graceful and generous, elegant and colorful. The stretch of the body, the indulgence of the pen, and the mellow attitude of "Cao Quanbei" reflect the calligrapher's artistic ingenuity and creative confidence in seeking stability in turmoil, and seeing unrestrained artistic ingenuity and creative confidence in freedom, so that the works are beautiful and heroic. The unique personality and specific connotation of the elegant style of the monument are far from being comparable to other Han Li.

The structural characteristics of "Stupid Fight Cao Quanbei" are mainly blindly manifested as sparse and flat, stretching and unrestrained, the glyphs are mostly horizontal, there are long and square knots, the horizontal opening is smooth, and the vertical is subtle and steady, so that the structure appears graceful and generous, elegant and colorful. The stretch of the body, the indulgence of the pen, and the mellow attitude of "Cao Quanbei" reflect the calligrapher's artistic ingenuity and creative confidence in seeking stability in turmoil, and seeing unrestrained artistic ingenuity and creative confidence in freedom, so that the works are beautiful and heroic. The unique personality and specific connotation of the elegant style of the monument are far from being comparable to other Han Li.

Summary. Cao Quanbei's book, how to write it for a long time?

Cao Quanbei Lishu, look at the picture below for a long time.

The official calligraphy of the year is as follows:

Cao Quanbei (national treasure level cultural relics) in the second year of Hanzhongping (185 AD) is 272 centimeters high and 95 centimeters wide. At the beginning of the Ming Dynasty, it was unearthed in Xinli Village, Qiachuan Town, Heyang County, and entered the Xi'an Forest of Steles Museum in 1956, and is now in Xi'an Forest of Steles. The content is Wang Yi's account of Cao Quan's life.

Cao Quan stele (5) stele is about meters high, about meters wide, rectangular, no forehead, and the stone is fine. Both sides of the stele are engraved with official inscriptions. 20 lines of Beiyang, 45 characters in the full line; The stele is divided into 5 columns, and the number of digits in each column is unequal.

In the early years of Wanli in the Ming Dynasty, the monument was unearthed in the old city of Haoyang County, Shaanxi. At the end of the Ming Dynasty, it is said that the stele was broken, and what people usually see is the rubbing after the break.

The full name of Cao Quan's stele is Han He's [hé] Yang Ling Cao Quan's stele, which is an important inscription in the Eastern Han Dynasty when Zhongyou destroyed the country, and was erected in the second year of Zhongping in the Eastern Han Dynasty (185). In 1956, it was moved to the Forest of Steles Museum in Xi'an, Shaanxi Province for preservation. Cao Quanbei is the representative work of Lishu in the Han Dynasty, the style is beautiful and colorful and the body is well-known, and it is highly respected by calligraphers of all dynasties.

What is Lishu:

Lishu is a common solemn font style in Chinese characters, it is generally believed that it is developed from the seal script, the glyph is mostly wide and flat, the horizontal painting is long and the vertical painting is short, and the "silkworm head swallowtail" and "twists and turns" are emphasized. Lishu was founded in the Qin Dynasty, the legend of Cheng Miao as a li, Han Li reached its peak in the Eastern Han Dynasty, the tradition of seal calligraphy, the Wei and Jin dynasties, the Northern and Southern Dynasties, the calligraphy of later generations has a non-negligible influence, the calligraphy world has the "Han Li Tang Kai" said.

Secondly, what exactly is called subordinate, and what is the strict difference between subordination and seal, Mr. Wu Botao has analyzed and determined in the above-mentioned article rolling filial piety, and here is an excerpt of a few small paragraphs worth considering in Wu's text. Wu Yun "The small seal also preserves the will of the pictographs, and the painting of its finished objects is bent with the body; Lishu went one step further, destroying the knot of pictographs with stroke symbols, and became non-pictographic."