· Han · Epigraph of Yi Ying in Clerical Script (Large Character Spectrum)

Author: Guangxi Fine Arts
Publisher:
Publish Date: 1999-10-01
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 teachers who have long been engaged in calligraphy teaching. They are not only diligent calligraphers with successful creations but, more importantly, they possess extensive experience in calligraphy teaching. They start from the practical aspects of calligraphy teaching, draw on various strengths, and provide targeted explanations that align with students' learning needs. This approach ensures precision and effectiveness, addressing issues directly. Their analysis is concise, straightforward, and easy to understand. They tell you where the difficulties in learning calligraphy lie and where details are often overlooked. They also guide you on 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 accessible manner, emphasizing simplicity, clarity, and ease of learning and teaching. 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 "" (ten). Next, diagonal strokes are introduced, adding a long diagonal stroke to form characters like "" (at) or "" (left). The character "" (piece) is derived from the basic horizontal and vertical strokes, combined with a diagonal stroke. This step-by-step progression is logical and interconnected. In practical learning, it starts from the simple to the complex, making it especially suitable for beginners. Even young children in kindergarten would appreciate this gradual teaching method. The same principle is applied to the arrangement of other character manuals.
Third, the book's editing combines vertical and horizontal elements organically, making the content more comprehensive. Most character manuals follow a single-line structure, focusing solely on vertical arrangements—starting with brushwork, then moving to component structures, and finally discussing overall composition. However, in calligraphy teaching practice, we have found that many excellent calligraphy teachers combine brushwork and structure. For instance, when explaining a basic stroke, they demonstrate its position in a character, its length, thickness, and curvature, integrating vertical and horizontal elements seamlessly. This approach gives 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 them for convenience, but in reality, they are inseparable, especially in cursive and semi-cursive scripts.
This series of Calligraphy Character Manuals also features another unique aspect: it analyzes and explains the typical characters from a single work by an ancient calligrapher. Each volume provides a detailed breakdown of individual strokes as well as an overall grasp of components, structure, and composition. The original calligraphy is enlarged and printed in relief, facilitating observation and appreciation. Each volume focuses on one work by a calligrapher, and when combined, the entire series forms a magnificent collection. It covers five styles—Seal, Clerical, Regular, Cursive, and Semi-Cursive—creating a perfect combination. Readers can purchase the entire series to gain a comprehensive understanding, avoiding repetition and waste from buying individual volumes separately. Alternatively, they can buy specific volumes as needed, using them independently for convenience across different skill levels.
We also hope to receive understanding and support from teachers, parents, and.