Han Dynasty "Cao Quan Stele" Running Script Large Character Spectrum

Author: Lu Youzhu
Publisher:
Publishing Date: 2004-05-01
Features: This book has the following characteristics in its editing: First, it is highly practical and meets the needs of beginners in calligraphy, offering easy-to-use features. The authors of this calligraphy character manual are all teachers who have long been engaged in calligraphy teaching. They are not only diligent calligraphers with successful creations but, more importantly, they possess rich experience in calligraphy teaching. They can start from the practical aspects of calligraphy teaching, draw on various strengths, and provide targeted analysis and explanations that align with students' actual learning of calligraphy. This ensures precision, like treating the root cause of a problem, and helps beginners overcome difficulties and improve their shortcomings. Their analysis is concise, straightforward, and easy to understand. They tell you where the difficulties lie in learning calligraphy and where things are easily overlooked, as well as how to overcome challenges and improve weaknesses. This focused approach will inspire and benefit beginners in calligraphy.
Second, the book is arranged in a progressive and systematic manner, making it easy to learn and teach. For example, in the character manual of the Qinli Stele, the brushwork section first explains horizontal strokes, followed by vertical strokes. A horizontal and a vertical stroke together form the character "" (shí). Next, diagonal strokes are introduced, and adding a long diagonal stroke creates characters like "" (zài) or "" (zuǒ). The character "" (piàn) is a basic combination of horizontal and vertical strokes with an added diagonal stroke. This step-by-step approach is logical and interconnected. In terms of learning, it starts from the simple to the complex, making it particularly suitable for beginners in calligraphy—even young children in kindergarten would appreciate this progressive teaching method. We follow the same principle in arranging other character manuals.
Third, the editing of this book combines vertical and horizontal elements organically, making the content more comprehensive. Most character manuals follow a single-line structure, focusing only on vertical arrangements—starting with brushwork, then moving to component structures, and finally discussing layout. However, in calligraphy teaching practice, we have found that many excellent calligraphy teachers combine brushwork and structure together. For instance, when explaining a basic stroke, they demonstrate its position in a character, its length, thickness, and whether it should be straight or curved. This integrates vertical and horizontal elements organically, giving beginners an understanding of structure even when they first encounter brushwork. Since Chinese characters are an organic whole, brushwork and structure are closely related. In teaching, we often separate brushwork, components, and structure for convenience, but in reality, they are inseparable. This is especially true in cursive and semi-cursive calligraphy. Zhao Mengfu once said, "Brushwork is timeless, while structure varies with the times." However, this is not entirely accurate—brushwork is not timeless, and structure is not just about changing with the times but also adapting to variations in brushwork. Over the centuries, countless calligraphy works have shown diverse styles and appearances, all rooted in brushwork. The brushwork of Yan Zhenqing differs greatly from that of Emperor Zhenzong of Song, and likewise, it differs from that of Wang Duo and Zhang Ruili.
Therefore, combining brushwork and structure in analysis aligns more closely with the essence of calligraphy art and the realities of calligraphy teaching. This can be seen as a new attempt and breakthrough in calligraphy education.
Another feature of this Great Calligraphy Character Manual series is that it analyzes and explains the typical brushwork from a single work by an ancient calligrapher. It includes both detailed stroke-by-stroke breakdowns and an overall grasp of components, structure, and layout. The original calligraphy is enlarged and printed in relief for easy observation and appreciation. Each volume focuses on one work by a calligrapher, and when combined, the entire series presents a magnificent collection. It covers all five major calligraphy styles— Seal, Clerical, Regular, Cursive, and Semi-Cursive—creating a perfect combination. Readers can purchase the entire set to grasp the big picture or buy individual volumes as needed, enjoying independent use. This caters to readers of all levels.
We also hope to gain the understanding and support of teachers, parents, and all calligraphy enthusiasts.