Yi Bingshou seal book works are very few, so far I have seen only three: two are temporary works, one is the "Hun Ming", the Tang seal is selected "unpopular", it can be seen that its preference, the strokes are delicate and light, the glyphs are sparse, and the local places are exaggerated, reflecting the childish interest. For Yi, clumsiness is a habitual method. The other temporary work is more special, the upper part is "Zhang Qian Tablet", and the lower part is Li Yangbing's seal book. The only creation is this vertical banner of the seal script of King Wu of Zhou. Judging from the temporary work, Yi Bingshou not only writes seals but also has a very correct path. However, the person who saw "King Wu of Zhou with Inscription" is the "true appearance" of Yi Seal. The glyph is the seal, the penmanship is subordinate, like the word "fire" with few strokes, basically the seal is used interchangeably, and the word "repair" turns the square Lishu glyph into a circle, and it is also a seal and a subordinate. In the whole picture, the skimming paintings are all subordinate to the law. Overall, ** is a seal book, and it is clearly a official book!
In fact, Yili is not actually a pure official book, but a furnace that combines Han Li, especially "Zhang Qian", Yan Kai and seal script. In terms of the general background of the times, this is the characteristic of the development and change of calligraphy in the Qing Dynasty, seeking to integrate between various calligraphy styles, in order to create a new face. Among them, there are both successful people like Yi Bingshou and Zhao Zhiqian, and there are also losers like Zheng Banqiao; From a personal point of view, the combination of seals and subordinates is logical, and the combination of subordinates and Kai is easy to conflict. Yili just did the opposite, and there was a Kai in the subordinate. Not only that, but also further "simplified" the brushwork and turned it into a kind of "art word", but it can be interesting. The brushwork seems to be "one trick familiar", but in fact there are endless variations. The reason is in**? The work of seal script. In the process of creation, calligraphers have a variety of methods. Some calligraphers copy multiple bodies, and their creations are also multi-style, such as Zhao Zhiqian and Wu Changshuo, and some are more than one, such as Yi Bingshou and Zheng Xiaoxu. Zheng Xiaoxu is the most popular is the regular script, occasionally see the creation of seal script, there are also some official book creation, there are many official book temporary works. There are also those who come out of one, or do not do, or do not come. When it comes to the essence, these are "hidden changes." Calligraphy and people can never be separated, "Tibet" is not only a Tibetan front, but also a hidden skill, not showing the dew. Nowadays, many people like to give lectures and make their methods public, but it is not really the core method, so it is not known. Even an individual approach may not be right for everyone. Of course, there are also many people who are reluctant to ** their own unique secrets in front of others, especially in front of the camera. In the history of calligraphy, there are many calligraphers who can see a large number of temporary works, and there are also many calligraphers who do not have a single temporary work, such as Xu Wei, Baijiao, etc. They're sure they'll copy it too, but they just don't show their hands and keep their personal mysteries. It's like some Indians who declare that they never come to the Han Seal - in fact, they will say that they are not coming, in order to show that they are different. To judge the authenticity of a calligrapher's opinion, we must not only look at the expression of words, but also look at the action. Yi Zhen, like Yi Li, has skills but not only skills, and is clumsy. The two cannot be separated. Yi seal is not a seal, Yi seal is subordinate, Yi is not subordinate, Yi is not subordinate, Yi is a seal. The fusion between these two different styles of writing bears witness to Yi Bingshou's extraordinary ability to grasp it. Returning to the temporary work of the combination of Han Li and Tang seal, according to the order of font evolution, the seal is in front and subordinate to the back; According to the dynasty, the Han Dynasty was in front and the Tang Dynasty was in the back, and it also had the "beauty of anti-string" in form. This kind of contrasting technique is common in Yi Bingshou calligraphy, the heavy, large and clumsy seal calligraphy, the light, fine and even cursive calligraphy, specific to the penmanship and glyphs in the clumsiness, light and heavy, dynamic and static, even breaking, etc., and finally very harmoniously "hidden" in the work, it is worth savoring, not small and intriguing at a glance. When it comes to the essence, this is the cultivation of life. Yi Bingshou is an honest official and has a good reputation. Lishu has an awe-inspiring and righteous atmosphere, which can be called the unity of people and books. To know a book, you must know people and understand the truth of life. In view of this, although it seems to be a homework for elementary school students, it is actually a daily lesson that adults must adhere to. Jiang Ji of the Qing Dynasty said: "It is not difficult to learn books in the ancient times", "in the ancients" is not simply "copying", but to "know people", learning a calligrapher, not only in the face of handwriting, but in the face of the whole person, this is the so-called "Mencius Wan Zhangxia": "Praise its poems, read its books, do not know its people, but?" "To learn is to learn to be a person, and it takes a lifetime to perfect. Xiang Mu said in "Calligraphy Yayan": "The power of books is complete. However, it will not be possible in 40 years. Therefore, the book of Yi Shao is called wonderful with two out of fifty; Xuanni's learning, sixty years later, and from the heart". 
Whether it is Yi Li or Yi Zhen, they are both appreciable and appreciable and cannot be easily copied directly, and if you want to learn the true meaning, you must have very clever means. However, any calligrapher with an extremely strong style has always been tempered, and the accumulation of methods and experience is the focus of attention. When the process of technique extraction is omitted, the experience of the original creator seems to be a "shortcut", but in the end it becomes a "routine", which is condensed into a "trick of familiarity". Good scholars are not directly learning from their faces, but from their hearts, and finding another way, Huang Shiling's seal carving is inspired by Yi Seal and Yi Li, and can finally start a sect. In the final analysis, Yi Bingshou can be a seal but not much, and Lishu is the main target and concentrates his personal energy. He used the seal script as a "catalyst" and eventually achieved the official script. Although Yi Bingshou is really influential in Lishu, he has to talk about things in seal books from time to time. This is undoubtedly also "Kung Fu is outside the book" - the breakthrough and key point of one book style is often in another book style. Honestly. 
Author: Xue Yuanming, art critic and columnist.
The fragrance of books nourishes the family style