"Cao Quan Monument" was erected in October of the second year of Emperor Ling of the Eastern Han Dynasty (185). Height 253cm, width 123cm. There are 20 lines of stele yang, 45 words per line, and five columns of stele yin. None. The full name is "Han Heyang Ling Cao Quan Monument", also known as "Cao Jingwan Monument". At the beginning of the Ming Dynasty, Wanli was unearthed in Xinli Village, Haoyang, Shaanxi (now Heyang, Shaanxi), and is now in the Forest of Steles in Xi'an, Shaanxi. The stele has a break.
Cao Quan, the word scene is finished, Dunhuang Xiaogu people. In the sixth year (183) of Emperor Guanghe of the Eastern Han Dynasty, he was promoted to filial piety, except for Zhonglang, and was transferred to the order of Haoyang. During his official period, he had political achievements, and he had accompanied the army to recruit Shule, and had military exploits. Subordinate officials Wang Chang and others set up a monument for him. This is a work of the mature period of Lishu in the Eastern Han Dynasty, a typical example of Xiuyi and elegant style. The Palace Museum has a Ming rubbing.
Qing Sun Chengze's comment on "Cao Quan Tablet" in "Gengzi Elimination of Summer": "The calligraphy is beautiful and elegant, and the "Ritual Tablet" is reflected before and after, and the treasure in the Han stone is also. ”
Qingkang Youwei's "Guangyi Boat Shuangji": "Kong Zhou" and "Cao Quan" are a family member, and they all win with the wind god. ”
Cao Quan Tablet is a work of the mature period of Lishu in the Eastern Han Dynasty, which has been highly praised by the past dynasties and has a great influence on the style of calligraphy of later generations. This stele belongs to the technical type Han stele, and the method of using the pen and the structure of the law have the basic norms of the official book. Because this stele is relatively well preserved, and the carving is very fine, it basically preserves its original style. The beautiful and colorful, round and plump, moist and elegant "Cao Quan Tablet" belongs to the feminine and beautiful type in the many inscriptions of the Han Dynasty.
His style of writing is elegant but not kitsch, rich and bonely, full of energy, and fluttering like a fairy. Its penmanship is extended, the line of writing is smooth and indulgent, the pen is both round and round, soft and moisturizing, lifting and frustrating, and the ups and downs are vivid. Take the momentum left and right, the pen is long and far-reaching, with a strong sense of flow, and the pen is like a Kun knife cutting jade, dignified and powerful.
In "Cao Quan Monument", the composition of the strokes of each character is roughly divided into primary and secondary, and it is extremely clear. The main brushes are mainly wave-picked swallowtails, especially when the horizontal paintings are the main brushes, all of which are presented in the shape of silkworm head swallowtails. The emphasis on the swallowtail strokes of the silkworm head undoubtedly strengthens the horizontal opening trend, and the change of "the swallow does not fly, the silkworm does not lie down" in the word makes it more natural. The distribution of power in the pen is larger, and the power points at the left and right ends of each word are determined. The main brush is mostly arced, and the other supplementary lines echo with their different inclination angles, which not only enhances the momentum of the main brush, but also makes the whole have an elegant state. For example, the words "room" and "world" in the picture are very obvious.
In "Cao Quan's Monument", most of the lines are curved and straight, and they are moving in stillness. The same is true for the lines, and the same is true for the posture. Occasionally, when some knots are based on the combination of straight lines, they also pay attention to the square folds and hearty, and the straight lines are also in the shape of "drum cones", such as the word "Chang".
When the curve combination is the keynote, it must also be drawn in two or three straight strokes, so as not to loosen the knot when enhancing the circular flow of the lines. Such as "thing", "follow" and so on. This type of character is the most abundant in "Cao Quanbei", and the combination of lines emphasizes the cooperation between straight lines and curved lines, and the two complement each other, which is both contrasting and unified, and the changes are extremely vivid and natural. Such as the word "Xing". The different emphases of the two will eventually be on the ** article, tolerate each other, and obey the entire elegant chapter.
Cao Quanbei" is flat and uniform in structure, sparse and smooth; stretching unrestrained, ups and downs; The spatial variation is rich and diverse.
Cao Quanbei is also very distinctive in the treatment of the center of gravity of the word. Some are in the middle of the word, some are biased to the left of the word, some are biased to the right of the word, and so on. The continuous exchange and displacement of the center of gravity makes its space more rich and diverse, and the contrast is extremely strong. For example, the word "history" is tight at the top and loose at the bottom, the left and right symmetry of the word "jing", and the right and left are dense and so on.
The artistic style of "Cao Quanbei" is mainly show-oriented, and at the same time it is very strong, so when studying, we should pay attention to showing its upright side. In terms of structure, attention should be paid to the law of change of its center of gravity, which is sparse and close, and its structural changes are rich and diverse, and should not be written in the same way.
Cao Quan Tablet is a work of the mature period of the Eastern Han Dynasty Lishu, and the pen and structure are quite perfect and precise. This monument can be used as a good model for the introduction of Hanli. After a period of training, he perfected his practice skills and fully mastered the style characteristics of "Cao Quan Monument".