The Analysis Of Chirography Characteristics Of Liye Qin Slips

Liye Qin slips was discovered at an abandoned well in the Long shan County of Hunan province in 2002, the most of the them are Qin Official script, which is very important for the study of the character in Qin Dynasty and the unique development of Chinese character in the same time."Liye Qin ships"(1) is a part of the precious Liye Qin ships, it contains 2672 pieces of ships. This paper is aimed to research the Chirography Characteristics of Liye Qin ships based on the original pictures arranged by Hunan provincial institute of archaeology,it will contribute to understand the writing features of Qin dynasty.Analyse the various shapes of Liye Qin ships, then pick out 6 typical writers and make specific interpretations based on their different features.The chirography characteristics will be introduced in two ways:the handwriting features and the chirography styles. It is the most important part of this paper. Through the analysis of the strokes we have found that the horizontal,the vertical, the left-falling, the right-falling, the point and the folding in modern Chinese characters had been formed before the Qin dynasty, especially the typical characteristics of official script----"Can tou yan wei" had emerged during this time. As to the structure, the component had been further simplified, having lost its initial pictographic meaning and becoming a kind of sign; the structure of the Chinese characters had been stabilized basically during the long process of "Li bian". The calligraphy styles are mainly divided into four types: rakish style, cautious style, casual style and comely style.By comparing the Liye Qin ships with Qing chuan wooden slips,Shuihudi Qin slips and Longgang Qin slips, the chirography characteristics of Liye Qin slips,such as obvious" Li bian "traces, various calligraphy styles, will be showed clearly.In short, Liye Qin slips have broken the writing principle of seal script. The strokes have become straight; the fonts have been more and more flat. Although the components were relative fluid, in a macro perspective, the position of the components have become more stable, establishing the foundation of modern Chinese characters.