Chinese:
“small seal”
Wade-Giles romanization:
hsiao-chuan
Related Topics:
Chinese calligraphy

xiaozhuan, in Chinese calligraphy, a standardized and simplified form of the earlier dazhuan script, in which all lines are of even thickness and curves and circles are relatively predominant. Its development during the Qin dynasty (221–206 bc) is traditionally attributed to Li Si, a minister of that dynasty. The Qin dynasty created the first Chinese empire, under which customs, laws, and weights and measures were standardized. The modification of characters into a standardized script made possible a broader and easier dissemination of learning that met the growing demand for documented records. Irregularities were dropped, and each character was structurally adjusted to fit within an imaginary square. A passage written in xiaozhuan appears as a balanced and well-spaced series of neat columns and rows of equal squares. Only the tip of a long-haired brush was used. Unfortunately, the small-seal style could not be written speedily and was therefore not entirely suitable. In the Han dynasty the small-seal style went out of fashion, but it still survives in modern times for seal carving and the occasional formal inscription, to which it lends an antique flavour.

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lishu

Chinese script
Also known as: chancery script, clerical script, li-shu, official style
Chinese:
“clerical script,” or “chancery script”
Wade-Giles romanization:
li-shu
Related Topics:
Chinese calligraphy

lishu, in Chinese calligraphy, a style that may have originated in the brush writing of the later Zhou and Qin dynasties (c. 300–200 bc); it represents a more informal tradition than the zhuanshu (“seal script”), which was more suitable for inscriptions cast in the ritual bronzes. While examples of lishu from the 3rd century bc have been discovered, the script type was most widely used in the Han dynasty (206 bcad 220). Though somewhat square and angular, with strong emphasis on the horizontal strokes, the lishu is a truly calligraphic script type, making full use of the flexible brush to modulate the thickness of the line. Many Han examples survive, written with a brush on bamboo slips or carved in stone. Characters were approximately uniform in size and evenly spaced within a composition, but the construction of characters and individual strokes varied greatly. At the end of the Han dynasty the lishu developed into the more supple and fluent kaishu.

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