His running script works handed down from generation to generation include twelve lines of 128 characters, which were collected by Shanghai Museum and published in Japanese "China Famous Calligraphy Atlas of Ming and Qing Dynasties". On the Axis of Liu Gongquan was written in the third year of Jiaqing (1798), with four lines of * * * 86 words, and published in The Complete Works of China Calligraphy and Taoism. The Self-Written Poetry Collection, with six lines and 41 words, was collected by Liaoning Provincial Museum and published in The Complete Works of China Calligraphy and Taoism.
"Four Lines of Poems", with six lines and 45 words, was published in the book Road and Map at the Time of Ming and Qing Dynasties in Japan. The three-line cross of the axis of Laozi's running script was published in the Complete Works of China's Calligraphy and Taoism. In addition, in the 20th year of the Republic of China (193 1), Zhenya Bookstore photocopied the Poems of Du Fu, a running script of Mr. Nanyuan, according to the ink collected by the owner of Pingzhai, and included a mirror of China's calligraphy. Yi Bingshou's books were presented to the Gui (Fu) Hualing couplets collected in Tiandulou, Jinling.
There are many official script couplets handed down from generation to generation, such as the three-character couplet written in the third year of Jiaqing (1798), which says, "Only when you aim at the Tao can you succeed." In the fourth year of Jiaqing (1799), he wrote a five-character couplet, "Clear light is suitable for bamboo, and elegance is better than listening to the piano." In the eighth year of Jiaqing (1803), the five-character couplet wrote: "The political voice is the official department, and the righteousness is the capital of Dongjiang." The five-character couplet written in the ninth year of Jiaqing (1804) is "never more ancient, but can be endowed with new poems."
The four-character couplet written in the tenth year of Jiaqing (1805) is "changing temperament and cultivating spirit." (See China Calligraphy Culture Panorama Yi Bingshou's Calligraphy Art above).
In addition, the five-character couplet "The Origin and Coincidence Reach the Truth of Temperament" collected by the Capital Museum, published by the China Ancient Calligraphy and Painting Catalogue, and the nine-brother couplet "Love is far away, and the essence is also in the heart" presented by Jiyuan, and the seven-character couplet "The Complete Works of China Calligraphy and Taoism" published, etc.
In addition to couplets, his official calligraphy works handed down from generation to generation include Ji Xing Axis of the Book of Jin published by Japan's Comprehensive Dictionary of Calligraphy and Taoism, Ji Xing Axis of Shu Wei published by Japan's Illustration of Calligraphy and Taoism in Ming and Qing Dynasties, and The Complete Works of China's Calligraphy and Taoism collected by Kyoto Museum in Japan.
Calligraphy achievement
Yi Bingshou's achievements in calligraphy have long been conclusive and spread widely. Many publishers have published his calligraphy posts since the Republic of China. Enthusiasts may wish to take a walk in Ninghua, Tingzhou. Perhaps inadvertently, they can find Yi Bingshou's original works in ordinary people's homes and rural areas. You know, this is his hometown.
From all the couplets, it can be seen that critics in ancient and modern times are obviously good at writing official script, and most of their official script works are strict, strange, broad and arbitrary.
Yi Bingshou was a good calligrapher before his death. He likes painting, seal cutting and poetry. Yi Lishu has a distinct personality, straight strokes, even distribution, full sides and strict rules, and has a strong interest in decorative arts, without the habit of "swallowtail with silkworm head" in the late period. This official calligraphy association has strict central strokes, hides the head and protects the tail, and the strokes are roughly equal in thickness.
Round and straightforward, it is obviously an original seal and brush strokes. This knot is balanced left and right. His official script makes good use of thick ink, which is soft and deep as paint, and his strokes are smooth and accurate. These five words are combined into one, with vigorous brushwork and heavy Chinese painting, which combines the advantages of Han Li's famous monuments such as Ode to a Pavilion, Zhang Qianbei and Fang Heng Monument, and forms its own rigorous but not rigid, dignified and rhythmic, exaggerated and reasonable official script.