《乙瑛碑》单字分析20
单子分析+临写参考
结构特点：
●这个字第一个难点是左边部分的绞丝旁，许多同学初次书写时容易在这里犯错。建议书写时，可以拆分来书写。绞丝旁上面是类似8形状，这里你也可以试着保持中锋画8来进行预备练习。
●右边部分是“合”，上面撇短捺长（与左边避让）；并排的横画都是平行的。
乙瑛碑中多个绞丝旁的单字对比：
1
2
1
结构特点：
这个字是简单字，书写时注意两个地方
●撇捺之间的关系。
●撇画起笔是靠横画右边的。
乙瑛碑中类似的字相互对比：
在书写作品中我们强调变化，但是有些字真得让人非常的苦恼，比如犬字、大字等笔画少，结构简单。
2
结构特点：
●三点水各点之间的间隙一致，书写时要注意其长短、方向。
●右边部分横画平行排列，书写时要注意左右两边的对应关系。
关于带有“酉”字的汉字书写：
3
结构特点：
●整个字在拓本中，线条偏细。横画平行，间隙相对均匀。
●书写时最后一横的书写要特别注意。
（注：在临写，字的粗细可以根据情况而调整；切记不要把临写变成复制。）
4
结构特点：
●左边将现在的三撇处理为了三点。
●右边部分第一横波横有很明显的弧度，如丝带扶顶而过。
●右边下面部分要注意竖画的长度，以及横折的宽度，这两个地方是在教学过程中，学生容易出错的地方。
5
A
石鼓文
战国时秦国所刻十块鼓形石上的文字，每个石头的圆柱形竖画上都刻着一篇古诗。以北宋拓的“先锋”“中权”“后劲”三本作参照，发现其文尚存有488字。《石鼓文》的内容是记秦国国君的游猎活动，也有学者指出石鼓文是先秦史诗。关于刻石年代，前人多以为系周宣王时所刻，现在认为《石鼓文》为秦刻这一论点已无疑义，但确切年代尚不统一，大多数意见认为刻于秦襄公八年（公元前770年）至秦惠文王十三年（公元前325年）之间。《石鼓文》书体为大篆体，已经摆脱象形图画的痕迹，唐初发现于歧州雍县南之三峙原村。每鼓刻四言诗一首，十首合为一组，其内容为记叙当时的渔猎情况，故亦名“猎碣”。其书体为大篆（或因其中多与籀文相合而定为“籀文”），是秦系文字的典型作品，也是研究小篆来源的重要资料。
其书法高古劲健，有如镂铁，字形婉润端庄，笔画凝重浑圆，历代书法家均奉为圭臬。刻制时代诸说不一，唐代韦应物以为周文王之鼓，至宣王时刻诗；韩愈以为周宣王之鼓；近代考证皆指为秦国刻石，但又有文公、穆公、襄公、献公等不同说法。该鼓现藏故宫博物院，其中一鼓已泐无一字，余九鼓亦多漫漶残损。北宋著名传世拓本有安国八十鼓斋本，其中“中权”“先锋”“后劲”三本，已经流入日本。
（拓展）十鼓类说：
1、“马荐鼓”，泐蚀非常严重，仅存15字，其中“天虹”二字连接，可能意在说明天上有七彩长虹，暗示雨水之充沛，草木滋润，禾物丰茂，具备优越的畜牧条件，歌颂秦建国初期的强盛。
2、 “汧殹鼓”，是一篇称颂秦地水利优越、牧业兴旺的文章。与“马荐鼓”之语意相连，说明秦国的畜牧业与渔业都已相当兴盛。
3、“吾车鼓”，是一篇歌颂君臣狩猎、志高气扬的文章。从车乘坚固、良马整齐、弓矢精强并猎获丰盛中可看出来秦国的繁荣景象。
4、“銮与鼓”，与“吾车鼓”意义相同，也是记述一次大规模的狩猎活动。
5、“吴人鼓”是颂扬秦国君主深得民心、未来必然兴旺、发达的颂辞。岐州雍县有吴山，亦称吴岳。又有“吴阳上畴”亦在其间。
6、“田车鼓”是记事、颂德的篇章。言秦国领地扩大，又获得上下内外的支持，深得人心的纪事与纪功之辞。
7、“作原鼓”是纪晋献河西八城后，秦国对新属地庶民的恩威并施的统治方法，故有“司事、法网、刑罚、优待、训导”以至后来树立嘉石等的一整套抚治新属地人民的政策和方法。
8、“灵雨鼓”是记述秦穆公率使兵伐晋，以报郩谷之败绩的事。秦穆公在进不获战的情况下，不得已，乃自茅津乘舟渡河回师，至郩谷封葬为晋人杀害的将士遗骨，并自责未听从蹇叔、百里奚之言，申誓志，过而归。
9、“吾水鼓”是一篇歌颂秦孝公用卫鞅革新建制取得辉煌政绩的篇章。
10、“而师鼓”是为颂称秦恵王和嗣王位事而撰写的一篇颂辞。《史记·秦本纪》中有关于此事的记述。
B
●English translate
Analysis and study of the Chinese charatres in the Yiying Bei stele20
Structural points:The toughest spot is the 纟 “silk” radical on the left. First-timers often fail here. Break it down: the top is shaped like an “8”; try warming up by drawing a vertical “8” with a centered brush.The right component is 合. The top stroke, a short slanting slash, yields to the left; the long right-falling捺 stretches out. Keep the vertical axis of the upper and lower parts in one straight line. All horizontal strokes are parallel.
Comparative study of several 纟-radical characters in the Yi-Ying Stele:
1
2
Structural points:
A simple character—watch two things only:The relation between the left-falling撇 and right-falling捺.The撇 starts to the right of the top horizontal.
Similar simple characters in the Yi-Ying Stele that can be cross-checked:
Structural points:The 氵 “three-dots water”: keep the gaps between dots even; mind each dot’s length and direction.On the right, horizontals are parallel; check the left-right echo between the two sides.
Related characters containing 酉:
Structural points:Throughout the stele impression the strokes are rather thin; horizontals are parallel and evenly spaced.Pay special attention to the final horizontal when you write.(When copying, stroke weight may be adjusted—never turn the exercise into mechanical duplication.)
Structural points:The left three modern撇 are rendered as three dots.The top horizontal on the right is a “wave-horizontal” with a visible bow, like a silk ribbon brushing the roof.Below that, mind the length of the vertical and the width of the right-angle turn—common student traps.
Shi-gu Wen (Stone-Drum Inscriptions)
During the Warring-States period the state of Qin carved ten drum-shaped stones; a vertical column of characters was cut round the curved surface of each stone, every stone thus holding one ancient poem. Using the three famous Northern-Song ink-squeezes—“Vanguard”, “Central Command”, and “Rear Guard”—scholars still count 488 legible graphs. The texts record the hunting expeditions of Qin rulers; some researchers read them as a pre-Qin epic.Earlier writers placed the carving in the reign of King Xuan of Zhou (late 9th c. BC); today “Qin-period carving” is undisputed, though the exact date remains open. Most opinions cluster between the 8th year of Duke Xiang of Qin (770 BC) and the 13th year of King Huiwen of Qin (325 BC).The script is Large-Seal; it has already left pictographic traces behind. The drums were first noticed in the early Tang dynasty on Sanzhi-yuan, south of Yong county, Qi prefecture. Each drum bears one four-character-line poem; the ten poems form a cycle recounting fishing and hunting, hence the alternate name “Hunting Tablets.” The graphs—often equated with the Zhou-dynasty “zhou-wen” (Large-Seal) tradition—are the classic exemplar of Qin writing and a prime source for studying the later Small-Seal script.Their calligraphy is lofty, vigorous, and hard as wrought iron; the forms are gentle, upright, and full, the strokes thick and round. Every generation of calligraphers has taken them as the supreme model.Dates proposed since the Tang vary: Wei Yingwu thought them drums of King Wen of Zhou, inscribed under King Xuan; Han Yu ascribed them to King Xuan himself. Modern research agrees on Qin, but candidates range from Duke Wen, Duke Mu, Duke Xiang to Duke Xian. The stones now lie in the Palace Museum, Beijing; one is completely effaced, the other nine heavily damaged. The finest surviving Song rubbings—the “An Guo Eighty-Drum Studio” set, including the three copies now in Japan—preserve their glory.
The Ten Drums in brief:
1. “马荐鼓”
Almost totally effaced; only 15 graphs survive. The linked graphs “sky-rainbow” suggest a seven-coloured arc in the sky, portending abundant rain, lush grass and rich herds—hymning the young state of Qin’s prosperity.
2. “汧殹鼓”
Celebrates Qin’s excellent waterworks and thriving animal husbandry, continuing the theme of Drum 1 and showing that both herding and fishing were already flourishing.
3. “吾车鼓”
Praises ruler and ministers on a high-spirited hunt: sturdy chariots, well-matched horses, strong bows and a rich bag—all signs of a prosperous state.
4. “銮与鼓”
Parallel to Drum 3; records another large-scale royal hunt.
5. “吴人鼓”
A eulogy declaring that the Qin prince has won the people’s hearts and will surely rise; Mount Wu (Wu-yue) and the Wu-yang Altar lie near Yong.
6. “田车鼓”
A record-cum-hymn: Qin’s territory has expanded, supported from above and below, beloved of all.
7. “作原鼓”
After Jin ceded the eight west-bank cities, Qin had to pacify the new population; the poem sets out the whole policy—officials, laws, punishments, favours, instruction, and the erection of commemorative stones.
8. “灵雨鼓”
Recalls Duke Mu of Qin’s expedition against Jin to avenge the Xiao defeat. When battle proved impossible, Mu crossed back by boat at Mao-Jin, re-buried the Jin dead at Xiao, blamed himself for ignoring Jian Shu and Bai-li Xi, and renewed his vow of revenge.
9.“吾水鼓”
Hails Duke Xiao of Qin and Shang Yang’s reforms that brought dazzling administrative success.
10. “而师鼓”
A coronation hymn for King Hui of Qin and the installation of his heir, an event also recorded in the “Basic Annals of Qin” in the Records of the Grand Historian.
C
乙瑛碑11—20
乙瑛碑19补充
关于宝盖头的归纳：