A Study Of Taking Caoquan Bei As A Model For Famous Clerical Writers In The Early Qing Dynasty

After the silence of the Yuan and Ming dynasties,the clerical script returned to the Han dynasty in the early Qing dynasty from the Tang dynasty.In this process,Zhu Yizun,Wan Jing,Shi Tao,Zheng Fu as the representative of the early Qing dynasty calligraphers,take the method mostly rooted in Cao Quanbei and other Han dynasty clerical inscriptions,and on this basis to pursue changes to seek their own artistic style.Their emphasis on the Han inscriptions in terms of brushwork,style,and chapter,especially their borrowing and development of the calligraphic style of Cao Quanbei,reflected the trend of the times in the field of clerical script in the early Qing dynasty,highlighting the calligraphic characteristics of the early Qing dynasty from the Tang to the Han inscriptions,making the clerical script of the early Qing dynasty have the characteristics of ancient elegance and robustness,lively gestures,and thus influencing the direction of the development of the clerical art in the middle and late Qing dynasty.This elegant and lively style can have a positive impact on the practice of clerical calligraphy and the shaping of clerical style for the present generation,and it also has some inspiration for my personal creation of clerical calligraphy.To explore the phenomenon of Cao Quanbei adopted by official script calligraphers in the early Qing Dynasty more systematically,this paper aims to select Zhu Yizun,Wan Jing,Shi Tao and Zheng Fu to compare and analyze the official script words with Cao Quanbei,which is carried out orderly from four aspects: the first part introduces the general situation of calligraphy in the early Qing Dynasty and the influence of Cao Quanbei unearthed on Qing Li;The second part introduces the life and calligraphy of Zhu Yizun,Wan Jing,Shi Tao and Zheng Fu respectively.The third part classifies,analyzes and explores Cao Quanbei,which is taken by four calligraphers in brushwork,configuration and composition by means of chart comparison;Finally,it analyzes the positive influence of the phenomenon of taking Chinese steles by official script calligraphers in the early Qing Dynasty on later generations and its enlightenment to contemporary calligraphy creation.Starting with the concept of taking the method of official script in Qing Dynasty,this paper concretely analyzes the ways of taking the method of several important calligraphers,which is also of certain academic significance for enriching the development history of official script in Qing Dynasty and the special study of calligraphy history in Qing Dynasty,which is also the calligraphic value of this paper.According to the study of the famous calligraphers of the early Qing dynasty,the author uses the Han stele as the main style and the techniques of other calligraphic styles,and applies the concept of learning from the Han stele in his own practice.In terms of brushwork,I have learned the characteristics of the Cao Quanbei,which is a mixture of square and round strokes,and at the same time,I have integrated the strokes of the running script,so that the lines are more fluid and rhythmic;in terms of composition,I have studied the horizontal and vertical lengths of the Han stele,and the lines are "tight" and "loose",so that they are free and flexible.In terms of composition,we have adopted the Chinese stele form with rows but no columns,deepening the horizontal relationship between characters and highlighting the sometimes square and sometimes flat connection and avoidance between the left and right characters,in order to present a modern exploration of formal beauty.