Calligraphy Dictionary of Different Parts with the Same Shape

Author: Liu Shaoying
Publisher:
Publishing Date: 1998-05-01
Features: Preface to the Editorial Notes Calligraphy in cursive script is a unique branch of Chinese calligraphy art, possessing extremely high artistic and practical value, and has long been admired and cherished by numerous enthusiasts. Cursive script originated in the early Han Dynasty, when cursive clerical script was prevalent. It gradually evolved into Clerical Cursive Script. By the late Han Dynasty, it was said that Zhang Zhi discarded the remaining clerical script elements and strokes, with the pen strokes often interconnecting between characters, and with phonetic components borrowed from each other, becoming what is known as Modern Cursive Script. During the Tang Dynasty, Zhang Xu and Huai Su further developed Modern Cursive Script, making it more unrestrained with continuous, winding pen strokes and varied character forms, which became known as Wild Cursive Script. Cursive script has a history of over two thousand years to date, and its forms have become more personalized. However, like other arts, cursive script also follows certain patterns. The Comprehensive Dictionary of Cursive Script with Different Parts Sharing the Same Form was inspired by the creation of Standard Cursive Script by the renowned calligrapher Yu Youren. It analyzes and compares the various writing styles of cursive script from the early Han Dynasty to the early Qing Dynasty, approximately two thousand years of history. It synthesizes the common characteristics of pen strokes interconnections and phonetic component borrowing across different cursive scripts, classifies them, and is thus compiled. This dictionary collects nearly twenty thousand cursive script characters, selected from preserved steles, inscriptions, and printed copies, following the structure of Chinese characters. The cursive script characters are divided into five main categories: Left Part, Right Part, Upper Part, Lower Part, and General Part. They are further categorized into seventy-five symbolic components based on the three hundred and more identical phonetic components in cursive script, thereby revealing the fundamental principles of cursive script. This dictionary is organized based on the five main categories, seventy-five symbolic components, and three hundred and thirty-nine phonetic components derived from the structure of Chinese characters. Specifically:
- The Left Part includes twenty-eight symbolic components and one hundred and twenty-one phonetic components of the left side of Chinese characters.
- The Right Part includes twenty-two symbolic components and sixty-seven phonetic components of the right side of Chinese characters.
- The Upper Part includes nine symbolic components and fifty-six phonetic components of the upper part of Chinese characters.
- The Lower Part includes eight symbolic components and fifty-two phonetic components of the lower part of Chinese characters.
- The General Part includes eight symbolic components and forty-three character forms of special Chinese characters written as a whole.
Postscript: The art of Chinese calligraphy has maintained its vitality for over three thousand years with its enduring life force. It opens up a vast, harmonious, and beautiful realm for us in the contrast and unity of black and white, thick and thin, thick and thin, rapid and slow, and hard and soft. It is like a melodious song, a lyrical poem, or a beautiful painting. The dynamic, abstract yet concrete lines inspired by inspiration always lead people into endless reverie, and it is increasingly favored by many. I believe that the unique charm of calligraphy art is something that no other art in the world can match or replace. Cursive script, as a distinctive script style within calligraphy art, is both an elevation of other script styles and a form that highlights and expresses the calligrapher's thoughts and emotions. As the saying goes, "to express emotions and convey meaning, the calligrapher expresses." In terms of practicality, cursive script also offers the advantage of being convenient and quick. However, cursive script does have its "mysterious and profound" aspects—it is difficult to write and even harder to recognize. Historically, there have been few outstanding masters of cursive script; in modern times, many enthusiasts also shy away from it. This has led me to ponder whether it is possible to discover its patterns by collecting, organizing, and studying historical steles, inscriptions, and masterpieces over the centuries, amidst the ever-changing lines of cursive script. Since the late 1970s of this century, there has been a surge in the study of calligraphy in China, and cursive script, as a form that best reflects the calligrapher's individuality and style, has become even more mature. It seems only natural to publish reference books that explore the principles of cursive script. Since the Sui and Tang dynasties, learners of cursive script have often started with the Thousand-Character Classic, perhaps because many famous calligraphers have left behind copies of it. However, it is easy to imagine that due to the limited printing technology of the time, there was a lack of materials, hindering effective comparison and identification, and thus obstructing the further development of cursive script. In modern times, Yu Youren created Standard Cursive Script, a significant achievement in the field of cursive script, providing a shortcut for learning it. Yet to this day, Standard Cursive Script has not achieved the widespread popularity its creator had envisioned. This cannot but prompt deep reflection among researchers and promoters of cursive script! It is said that experts and scholars have already determined the status and role of Standard Cursive Script, as Liu Yantao aptly put it: "Standard Cursive Script reveals the secrets of over a thousand years of lost tradition, summarizes the past, and opens a new path for future writing." So why has it not achieved the desired popularity by now? In my view, the main reason is that cursive script, as a unique art, has evolved over two thousand years, gathering the achievements of many calligraphers, and has formed patterns that can be followed. However, these patterns are reflected in the subtle variations of countless character forms, making them not immediately obvious or easily learned. Therefore, promoting cursive script must follow a gradual and patient process. Standard Cursive Script, being handwritten, has been mistakenly perceived by learners as different from the forms of ancient calligraphy, as if it adopted a "quick-fix" method, without explaining the origins and development of its "standards." As a result, learners only know the "what" but not the "why," leading to doubts and misunderstandings that prevent them from engaging with it. My interest in the study of cursive script patterns stems from my practice of calligraphy. Under my father's influence, I began writing at the age of seven, exploring all styles of calligraphy—regular script, cursive script, clerical script, seal script, and running script—with a particular fondness for cursive script. Especially ten years ago, I was fortunate to become a disciple of the contemporary cursive script master Shen Peng, and my calligraphic skills have greatly improved, leading me to study the standard techniques of cursive script. Over the past decade, I have collected various steles, inscriptions, and masterpieces of cursive script from ancient and modern times, filling bookshelves and cabinets. Through analysis, verification, and comparison during my studies, I have discovered that the cursive script of famous calligraphers over the centuries, while evolving in terms of the lightness and heaviness of strokes, the thickness and thinness of ink, and the length and width of characters, also varies due to diverse social environments and emotional expressions. Yet, there are patterns to be found. I have categorized the structure of cursive script according to the upper, lower, left, and right parts of Chinese characters (with some special and comprehensive forms placed in the General Part), continuously classifying and identifying the same forms from different parts, and conducting large-scale comprehensive organization. This has made my learning faster and my writing more effortless. Thus, I had an idea: to compile a reference book on cursive script to supplement the shortcomings of Standard Cursive Script and benefit society. My teacher Shen Peng immediately approved of this project, recognizing its academic theoretical value and importance in promoting cursive script. His praise, affirmation, and encouragement strengthened my confidence and gave me endless strength. After ten years of data organization and three years of relentless effort, I have finally completed this manuscript using approximately twenty thousand cursive script characters from famous calligraphers over the centuries, showcasing over two thousand standard Chinese characters. The preliminary title was Comprehensive Dictionary of Cursive Script with Different Parts Sharing the Same Character. At Shen Peng's suggestion, I visited the master calligrapher Qi Gong. In his residence, he happily praised the book: "There was nothing like this in ancient times, and there is nothing like this in modern times. It compares cursive script written by the ancients, presenting a comprehensive display of its patterns." He carefully considered the title and happily wrote the nine large characters, "Comprehensive Dictionary of Cursive Script with Different Parts Sharing the Same Form," replacing "same character" with "same form," a stroke of genius. It was under the kind care of the Honorary Chairman of the China Calligraphers Association, Qi Gong, and the Vice Chairman of the China Literature and Art Federation, Chairman of the China Calligraphers Association, Shen Peng, that this Comprehensive Dictionary of Cursive Script with Different Parts Sharing the Same Form was formed. During the compilation of this book, I received enthusiastic encouragement and inscriptions from senior figures such as Vice Chairman of the Standing Committee of the National People's Congress Cheng Siyuan, renowned ancient script scholar, seal script artist, calligrapher, and member of the China Calligraphers Association, Da Kang; renowned calligrapher and painter He Haixia; renowned painter Hu Jieqing; and others. I also received a preface from then Vice Minister of Culture, now Executive Vice Chairman and Secretary-General of the China Literature and Art Federation, Gao Zhanxiang, and a postscript from Liu Zhengcheng, Deputy Secretary-General of the China Calligraphers Association and Editor-in-Chief of China Calligraphy magazine, all of which added brilliance to the book's publication. Beijing Library Press provided strong support for the publication of this book. I am deeply grateful to the Editor-in-Chief of the Press, Cao Hulong, Editor Yang Chunchai, Editor-in-Chief of Documents magazine, He Jingmei, and Minister of the Ministry of Culture, Wang Shufeng, for their hard work in reviewing and editing the manuscript, careful planning, enriching the content, and dedicating their efforts to bringing this book to readers in a timely manner. Due to the enthusiastic promotion of Xu Pixin and Fang Qingyi of Hong Kong Times Publishing Co., Ltd., this book has also been disseminated to overseas regions such as Europe, America, and Southeast Asia. I am also very grateful to my teacher, Da Kang, for generously providing a regular script title for the spine to facilitate overseas distribution, further enhancing the beauty of this dictionary. At the time of publication, I am deeply grateful to Pang Zhonghua, Member of the National Committee of the Chinese People's Political Consultative Conference and President of the China Calligraphers Association, Huang Helianglang, Vice President and Secretary-General of the Association, Meng Tianyu, Yang Weiguo, Yang Kaijin, He Wei, Huang Chaoguan, Secretary-General of China Calligraphy magazine, Xiong Yuanming, and other calligraphers who have always supported my journey in calligraphy art, as well as the renowned photographer Song Chuan, painter Cui Dacheng, and my dear friends Shao Weidong, Zhu Feipeng, Wei Xiujiang, Gao Mingsheng, Wang Yunsheng, Deng Guoqing, Fu Jianquan, Feng Haiyu, Yang Liping, Wang Dangtuo, Zou Jianwen, Li Sen, Chen Weidong, Liang Min, Xi Xin, Liu Yansong, Liu Wensheng, Xu Yi, Yang Guangwen, Zhao Xuelun, Wu Changsheng, Tan Yantong, Gao Junfa, Ma Jingzhong, Wang Xili, Xu Hong, Liu Dianjing, Teng Feng, Zhang Qingyuan, Hao Jianjun, Guo Xianglong, Wen Hao, Liu Jinbo, Wang Quanning, Zhu Yijiang, Wang Changqing, Liu Jinqiao, Luo Zengli, and Fang Keyi, the protagonist of the book Excellence in Modern Chinese Couplets. As good teachers and friends, they have provided me with materials, helped organize the manuscript, and offered valuable suggestions, greatly benefiting me. For this, my heart is deeply moved. I extend my highest respect and heartfelt gratitude to all of you.
This book references Cursive Script Dictionary and other classic texts and steles. Due to my limited abilities, if there are any errors in this book, I sincerely ask experts and scholars, as well as all readers, to kindly point them out.
Liu Shaoying
October 10, 1997
At Zhengyang Qi