从横竖笔画关系管窥近代汉字书写面貌
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摘要
现代笔顺有一套完整的笔顺规则,先横后竖,先撇后捺等已经成为笔画书写常识。但是追溯以往,诸如唐宋,关于笔顺的面貌描述和相关记载是十分少见的。唐代以来人们在写具体每一个字的时候笔画之间呈现的是怎样的一种面貌呢?文章主要以"寒""無"等横与竖相交的字作为代表例字,首次梳理了此类汉字在近代的书写面貌,并通过分析它们从唐至民国的具体写法,从而看出唐代以来的汉字书写并非如我们今天规定的这么严格和死板,整体写法比较丰富,大多都在2/3种或者以上,人们可以选择比较舒服或者顺手的某种写法,但也都是有章可循的。也通过分析笔顺面貌从而归纳横与竖相交时候的一条书写规则,为汉字书写规范化提供参考。
The modern stroke order has a complete set of stroke order rules. It has become a common sense of stroke writing, such as horizontal and vertical. However, in the past, such as the Tang and Song Dynasties, the description of the stroke order and related records are very rare. In the end, what kind of appearances did people draw between each stroke when they wrote each specific word? The article mainly uses the words "horizontal" and "no" to intersect the vertical and vertical characters as the representative example. For the first time, it sorts out the writing features of such Chinese characters in modern times,and analyzes their specific writings from Tang to the Republic of China. The writing of Chinese characters has not been as strict and rigid as the one we have today. The overall writing method is quite rich. Most of them are in 2/3 or more. People can choose a more comfortable or convenient way to write, but they also have rules to follow. of. It also provides a reference for the standardization of Chinese characters by analyzing the strokes of the strokes and summarizing the rules of writing when the horizontal and vertical intersect.
The modern stroke order has a complete set of stroke order rules. It has become a common sense of stroke writing, such as horizontal and vertical. However, in the past, such as the Tang and Song Dynasties, the description of the stroke order and related records are very rare. In the end, what kind of appearances did people draw between each stroke when they wrote each specific word? The article mainly uses the words "horizontal" and "no" to intersect the vertical and vertical characters as the representative example. For the first time, it sorts out the writing features of such Chinese characters in modern times,and analyzes their specific writings from Tang to the Republic of China. The writing of Chinese characters has not been as strict and rigid as the one we have today. The overall writing method is quite rich. Most of them are in 2/3 or more. People can choose a more comfortable or convenient way to write, but they also have rules to follow. of. It also provides a reference for the standardization of Chinese characters by analyzing the strokes of the strokes and summarizing the rules of writing when the horizontal and vertical intersect.
引文
[1]明·梅膺祚.字汇[M].上海:上海辞书出版社,1991.
[2]清·纪昀等.文渊阁四库全书(第八一六册)[M].台湾:台湾商务印书馆,1986.
[3]清·蒋和.习字秘诀[M].烟台:天津市古籍书店,1989.
[4]清·唐彪.读书作文谱·父师善诱法[M].台湾:伟文图书出版社有限公司,1976.
[5]民国·中华书局.习字入门[M].上海:中华书局,1919.
[6]民国·韩非木,高云塍.字学及书法[M].上海:中华书局,1936.
[7]诸宗元.中国书画浅说·中国书学浅说[M].北京:中华书局,2010.
(1)贺文荣.论中国古代书法传授谱系与观观察,2008(08):68-71.
(2)p.2049v;
(3)p.3502v;
(4)p.2215;
(5)p.2646;
(6)(7)p.2649;
(9)p.2215;
(10)p.2361;
(11)p.3573;
(12)(13)p.3274;
(14)p.2838;
(15)p.2504;
(16)p.2163;
(18)(19)P.2483v;
(20)p.4608;
(21)P.2649;
(22)PP.2943;
(25)P.3697;
(26)P.4071:指法国伯希书编号.
(8)s.2474;
(17)s.2575;
(23)s.5973;
(27)S.2474;
(28)S.4国斯坦因所藏文书编号.
[2]清·纪昀等.文渊阁四库全书(第八一六册)[M].台湾:台湾商务印书馆,1986.
[3]清·蒋和.习字秘诀[M].烟台:天津市古籍书店,1989.
[4]清·唐彪.读书作文谱·父师善诱法[M].台湾:伟文图书出版社有限公司,1976.
[5]民国·中华书局.习字入门[M].上海:中华书局,1919.
[6]民国·韩非木,高云塍.字学及书法[M].上海:中华书局,1936.
[7]诸宗元.中国书画浅说·中国书学浅说[M].北京:中华书局,2010.
(1)贺文荣.论中国古代书法传授谱系与观观察,2008(08):68-71.
(2)p.2049v;
(3)p.3502v;
(4)p.2215;
(5)p.2646;
(6)(7)p.2649;
(9)p.2215;
(10)p.2361;
(11)p.3573;
(12)(13)p.3274;
(14)p.2838;
(15)p.2504;
(16)p.2163;
(18)(19)P.2483v;
(20)p.4608;
(21)P.2649;
(22)PP.2943;
(25)P.3697;
(26)P.4071:指法国伯希书编号.
(8)s.2474;
(17)s.2575;
(23)s.5973;
(27)S.2474;
(28)S.4国斯坦因所藏文书编号.