Zhao Style Regular Script Interstructural Nine-Twelve Methods Calligraphy Manuscript

Author: Yang Lu
Publisher:
Publishing Date: 2003-01-01
Features: For thousands of years, people have continuously explored and researched the rules and principles of beautifying regular script. Those who made outstanding contributions include Zhi Yong in the Sui Dynasty, Zhang Huaiquan and Ouyang Xun in the Tang Dynasty, Chen Xizeng in the Yuan Dynasty, Li Chun and Jiang Ligang in the Ming Dynasty, Wang Peng and Jiang Heng in the Qing Dynasty, and so on. By the late Qing Dynasty, Huang Ziyuan collected the essential theories of predecessors and wrote "A Summary of 92 Methods for the Structure of Regular Script" (later known as "Huang Ziyuan's 92 Demonstrations of Regular Script Structure"). It uses concise, antithetical couplets and standard, typical examples to list ninety types of regular script structure.
For nine hundred years, this work has played an important role in the teaching of regular script. Even today, some bookish sayings are still passed down orally, such as "No character has two feet" and "Horizontal strokes are long, while left-falling strokes are short, without dots." These sayings are approximately derived from the "92 Methods."
Based on these four shortcomings, the "92 Methods" series of calligraphy books, categorized by the styles of Ouyang, Yan, Liu, and Zhao, analyzes the essence of major regular script styles. Each style is compiled into separate volumes, selecting typical examples and aligning the bookish sayings with the calligraphic forms. For the ninety-two methods, revisions are made according to the characteristics of various regular script styles to ensure consistency. Absolute and one-sided phrases are corrected for appropriateness, and vague entries are replaced with clearer explanations.
The categorized "92 Methods" series inherits Huang's concise, antithetical couplet style, making it easier for learners to memorize and use. To accurately understand and apply the various rules, the series includes an "Explanation of the 90 Methods of Regular Script," a simplified character ( means "comparison table"), and relevant calligraphy knowledge at the end of the book.
Because the categorized "92 Methods" series addresses the shortcomings of Huang's original work and the errors of derivative works, it has gained the attention of calligraphy researchers. It is also hoped that it will serve as a stepping stone for learners of regular script and be widely welcomed by calligraphy enthusiasts!