隶书书法字典:上千书法名家和碑帖 12.41

Review of "Dictionary of Li Shu Calligraphy: Thousands of Calligraphy Masters and Stone Inscriptions. Convenient search function.

1. Addition of inscriptions function
2. Addition of rice grid, field grid, nine palace grid.

New version new features:

1. Adding copy function
2. Adding sharing function, allowing image export.
3. Performance improvement
4. Bug fixes

Li script, also known as Han Li, is a solemn Chinese character font commonly seen in Han characters. The writing effect is slightly wide and flat, with long horizontal strokes and short vertical strokes, forming a rectangular shape, emphasizing "silkworm head, goose tail," and "one wave three turns." Li script originated in the Qin Dynasty, compiled by Cheng Miao, and reached its peak during the Eastern Han Dynasty, exerting a considerable influence on subsequent calligraphy. The calligraphy world is known as "Han Li Tang Kai."

About the definition of Li script, in a recent article by Mr. Wu Botao titled "Examining Qin and Han early Li Shu from Unearthed Qin Bamboo Slips and Silk Books," it is stated that "we can use the original meaning of this character to explain. In 'Shuowen Jiezi,' the meaning of 'Li' is interpreted as 'attached.' 'Hou Hanshu · Feng Yi Zhuan' translates it as 'belonging,' a meaning still in use today, with the term 'belonging' present in modern Chinese. 'Jin Shu · Wei Heng Zhuan,' 'Shuowen Jiezi Preface,' and Duan Zhu all consider Li script as 'assisting where the seal script is inadequate,' hence Li script is an auxiliary font of Xiaozhuan." Furthermore, what exactly constitutes Li script, and how does it differ strictly from seal script? Mr. Wu Botao offers an analysis in the above-mentioned article worth considering. Here are a few excerpts from Wu's work that are noteworthy. Wu states, "Xiaozhuan still retains the vestiges of pictographic characters, drawing them according to the object's form; Li script goes a step further by using strokes as symbols to disrupt the structure of pictographic characters, becoming non-pictographic pictographic characters" (he provides examples of character forms, which can be referred to in the original text).

He goes on to say, "Xiaozhuan and Li Shu are actually two systems that mark two major stages in the development of Chinese characters. Xiaozhuan marks the end of ancient pictographic characters, while Li Shu marks the beginning of transforming pictograms into stroke-based new characters." He claims that judging whether a font is Li script depends first on whether it contains elements that disrupt the seal writing structure and lose the original pictographic intent." Through meticulous comparative research, Mr. Wu arrives at such scientific evidence to differentiate between Xiaozhuan and Lishu academically, which is certainly noteworthy. However...