Jiaxing Tripitaka” and “Hongjiao Tripitaka”
Original papers Received November 3, 2015; Accepted March 21, 2016
COMPARISON & RESEARCH ON TYPEFACE FORMATION OF “JIAXING TRIPITAKA” AND “HONGJIAO TRIPITAKA”
I-Tzu HUNG*, Chi-Shoung TZENG**
*Graduate School of Design, National Yunlin University of Science & Technology, Taiwan **National Yunlin University of Science & Technology,123 University Road Section 3, Douliou, Yunlin, 64002, Taiwan
Abstract: This research focused on the “Jiaxing Tripitaka” and “Hongjiao Tripitaka”. Research is conducted mainly through document investigation and comparison to explore Han Tze typeface formation characteristics between the two, understand the evolution of print typeface and make comparison with DFMingMedium-B5 typeface, which is used in computer nowadays, for the purpose of serving as references for people engaged in education design and editing printing design related tasks. Results from this research are as follows: (1). Typefaces for “Jiaxing Tripitaka” and “Hongjiao Tripitaka” both changed strokes (side-draw method) formation to horizontal or vertical draws. (2). Most typefaces on “Jiaxing Tripitaka” illustrate apparent thinness in horizontal strokes but thickness in vertical strokes. However, a few typefaces still possess chirography characteristics. There are apparent decorative corners and vertical strokes are relatively thicker and bigger on the overall formation of “Hongjiao Tripitaka” typefaces. However, both typefaces are similar to DFMingMedium-B5 typeface used in modern day computers. Keywords: Jiaxing Tripitaka, Hongjiao Tripitaka, Ming Typeface, Print, Typeface Formation
1. Preface proved that religious activity was one of the factors for the India Buddhism started to spread in China in around 2 invention and promotion of printing. Sutras scriptures BC. Through the process of Chinese localization, numerous translated in Chinese had spread into Chosun in around 4th translation and printing works of Sutras classics began to or 5th century AD. In the beginning of the 6th century AD emerge. Judging from the printed objects discovered from (522 AD), Si, Ma-Da, a Chinese from Nan Liang, brought the early days of China, we learn that the number of Sutras Sutras scriptures to Japan. It is said that this was the ancient scriptures is phenomenal. As such, this had opened beginning of Buddhism’s spreading into Japan[1]. Among the most prosperous period for Chinese printing technology. China’s exchange relationship with Japan, Buddhism Furthermore, various different versions of printed Sutras accounts for an extremely part of mportance on the were produced in different times of history. From the exchange of national cultures. hand-written context in the early days to the engraved Accordingly, we learn to understand the relationship printing in the latter stage, a huge amount of presentation existed on typeface formation presentation through Sutras styles on typeface creation and editing had accumulated ancient scripture typeface characteristics on “Jiaxing accordingly. Numerous Chinese relics and ancient Tripitaka” and “Hongjiao Tripitaka” as well as documents have proved that Buddhist monks and their DFMingMedium-B5 typeface used in modern day followers were the first ones to use engraved printing. computers. Exploration on such subject helps connect the Because of demands at that time, Buddhism texts and evolution rocess for modern day Ming Typeface. sculptures were replicated and followers demonstrated their DFMingMedium-B5 typeface was chosen for devotion to religion by the quantity of their replicated comparison by the following reason. It has a lot of common materials. The process of large amount replicated Sutras points with a traditional typeface, for instance the shape of
Copyright © 2016 日本デザイン学会 All Rights Reserved. THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 63 No. 1 2016 41 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 1 the left end of a horizontal stroke. And DFMingMedium-B5 through stroke formation process illustrated in Yong Tze typeface is one of the most standard typefaces published by Eight-Stroke Methodology. Comparison on typeface the Ministry of Education of Taiwan. formation was then conducted using computer overlapping method. Finally, a summary of typeface formation 2. Purpose of Research differences and commonalities is drawn for the purpose of The reason for setting “Jiaxing Tripitaka” and clarifying origins of typeface formation for Ming Typeface. “Hongjiao Tripitaka” as subjects for this research is mainly because of emphasis on historical status evolution on 4. Scope of Research printing exclusive typefaces of Ming Typeface, Song “Jiaxing Tripitaka” and “Hongjiao Tripitaka” are Typeface and imitated Song Typeface presented through subjects for this research. Jiaxing Tripitaka includes previous study on “A Research on the Historical Buddhism engraved scriptures from Ming Dynasty and Development of Typface,” [2] “The Characteristic Qing Dynasty. However, Ming Dynasty scriptures, which Comparison between Yan and Liu’s Written Words and include scriptures from Wangli, Tienchi and Chongjen Ming Font” [3]and “The Characteristics of Printing periods, account for the most part. Scriptures from Qing Words and Editing Style during Wan-Li Era of Ming Dynasty include the ones from Shunzhi, Kansxi and Dynasty.” [4] This research utilizes previous study results Yongzheng periods. Japanese “Hongjiao Tripitaka” was as the basis for Buddhism Tripitaka in-depth comparison of created from the 14th to 18th year of Meiji Dynasty and this differences and commonalities between engraved typefaces is the earliest Tripitaka to use movable character printing in of Chinese “Jiaxing Tripitaka” and lead typefaces of Japan. Japanese “Hongjiao Tripitaka”. Further comparison was This research utilizes 401 Buddhist scriptures in then made between them and DFMingMedium-B5 typeface “Jiaxing Tripitaka” as research samples which include 323 which is used nowadays in order to understand their roles in of Ming Dynasty engraved scriptures and 78 of Qing the evolution of print typefaces. Dynasty engraved scriptures as research subjects. While all 470 scriptures in “Hongjiao Tripitaka” were set up and 3. Research Methods printed in lead characters. Accordingly, as far as typefaces Research method for this research mainly focuses on the are concerned, they were all set up and printed using the investigation and comparison of actual relics. It also utilizes same lead characters. Because of this, “Ratnakuta Sutra research results from the fields of “Study of Edition”, (大寶積經)”, the first scripture of the whole collection of “History of Publication”, “History of Printing”, “Study of scriptures, has been selected to serve as the representative Tze”, “Editing and Design”, “Study of Historical sample for the categorization of typeface comparison. Documents” and “Study of Buddhist Scripture Version” as a basis and, with comparison as the starting point, make 5. Discussion of Documents comparison on typeface formation. Subjects of this research Sutras is one of the categories for ancient books. Among include Dikan edition from the Wangli period of the Ming categorization for Chinese rare book booklist, Dynasty to the early stage of the Qing Dynasty listed in the Zi-Bu-Shi-Jia-Lei means Sutras[5]. For a long time after category of Zi-Bu-Shi-Jia-Lei with the full name of Buddhism scriptures were circulated into China, probably “Jiaxing Lengyen Temple Ancient Book Tripitaka” and from East Han Dynasty to Sui Dynasty, they had always collected by the National Central Library, and been called Scriptures or Yiqiejing. Later, they were named Zi-Bu-Shi-Jia-Lei-Jin-Lu-Lun-Shu which dated back “Tripitaka” which is the generic term for Buddhism between 14th and 18th year of the Meiji Dynasty in Japan scriptures. under the full name of “Tokyo Hongjiao Academy 5.1 Establishment Backgrounds for “Jiaxing Tripitaka” Compact Edition” and collected by the National Palace and “Hongjiao Tripitaka” Museum of Taiwan. The reason for selecting “Jiaxing Tzu-po Chen-k'o, one of the “four masters in the latter Tripitaka” and “Hongjiao Tripitaka” is because these two years of Ming Dynasty”, initiated the engraving and scriptures were created via printing instead of handwritten. printing of “Jiaxing Tripitaka” (1589AD -1677AD) in Leng Comparison method for typeface formation utilizes the Yan Temple in Jiaxing[6]. After being circulated to Japan, so-called Yong Tze Eight-Stroke Methodology. Common “Jiaxing Tripitaka” was called by the Japanese Buddhist words for these two Tripitakas have been selected to go community as “China Scriptures” or “Ming Scriptures.” It
422 BTHE U L LSCIENCE E T I N O F JSSD Vol.OF DESIGN 63 No. BULLETIN 1 2016 OFTHE JSSD SCIENCE Vol. OF 53 DESIGN No. 1 2006 was documented that fund raising started in the 14th year of 6. Comparisons of Typefaces and Strokes Formation Wangli Period (1586 AD) and the first engraving started at between “Jiaxing Tripitaka” and “Hongjiao Tripitaka” the Zi-Xia-Gu-Miao-De-An in Mount Wutai. Engraving As for sampling of strokes, ten representative words of continued thereafter until the Jia Chin period of Qing 永、之、下、中、水、上、以、十 have been selected from Dynasty(1795AD -1820AD) [7]. This Tripitaka, which was “Jiaxing Tripitaka” and “Hongjiao Tripitaka” based on engraved by private sector for two hundred years spanning basic stroke practice words for average calligraphy. These from the latter years of Ming Dynasty to the early days of words serve as basic words for the purpose of the Qing Dynasty, is the biggest in scale with the most distinguishing typeface formation characteristics. complete context of Tripitaka translated in Chinese in the Furthermore, verification is then conducted by comparing history of China. This is also the first set of thread-affixed with DFMingMedium-B5 typefaces which are used in ancient books of Tripitaka. “Jiaxing Tripitaka” and computers nowadays for the purpose of compilation and “Zokuzokyo”, which was engraved and printed in Japan, summarization. have both been praised as the treasure for Chinese 6.1 Basis for Stroke Analysis Buddhism historical documents. This is a proof that“Jiaxing This research utilizes Yong Tze Eight-Stroke Tripitaka” exerted phenomenal influence over the Methodology (永字八法) as the stroke selection method. promotion of Buddhism in Japan [8]. As for the origin of the Yong Tze Eight-Stroke Tripitaka of Song Dynasty version brought back to Methodology, it is known that, roughly, this rule appeared Japan by Japanese monks was the main reason for the in Sui/Tang Dynasty. After Tang Dynasty, it appeared prosperous engraved printing business as well as speedy frequently on various calligraphy critic books or articles. As circulation of culture in Japan [9]. Although Sutras for for calligraphy society nowadays, Yong Tze Eight-Stroke various sects had been engraved and printed in Japan, a Methodology is an important basis to understand Han Tze collection of complete scriptures had yet to be engraved and typefaces. printed. Because of this, Japanese renowned monk Master 6.2 Analysis and Comparisons of Stroke Formation Tetsugen Doko started, with assistance from Master Yin between “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Yun who established Huang Po Sect in Japan, to translate Selection of engraved typefaces of “Jiaxing Tripitaka” and engrave Chinese “Jiaxing Tripitaka” from Kanbun 9th and lead typefaces of “Hongjiao Tripitaka” is mainly year to Tenwa 1st year (1669 AD - 1681 AD) and called it focused on engraved scriptures with word strokes “Huang Po Zang.” [10,11] As such, Ming Typefaces have illustrating distinctive thinness in horizontal strokes and become very popular in Japan and they have also become thickness in vertical strokes. Each illustration of strokes lead print typefaces commonly utilized by both China and presented hereunder puts “Hongjiao Tripitaka” typefaces in Japan[12]. Japan’s engraving of Tripitaka started with the first place of such illustration while other typefaces “Tianhaizang” which was then followed by “Huang Po come from typefaces of respective scriptures of “Jiaxing Zang” and “Manzizoku-pitaka” . “Huang Po Zang” utilized Tripitaka.” Description of black chunk is used to emphasize “Jiaxing Tripitaka” as a basis and added some stroke formation during stroke analysis. modifications or extra materials, and it has exactly the same 6.2.1 Stroke of Dot (Side-Methodology) layout as the one for “Jiaxing Tripitaka.” “Zokuzokyo” was According to Yong Tze Eight-Stroke Methodology’s then proofread against “Komazo” while “Zokuzokyo” explanation, stroke of dot is called “side” methodology. As focused mainly on collecting numerous long lost versions illustrated by the table of contents of Sutras (Table 1), dot of scriptures here in China. “Hongjiao Tripitaka” was then strokes for “Yong Tze” on “Jiaxing Tripitaka” (Figure 1) engraved using “Komazo”, which was collected by Zojoji mostly changed short “side” strokes to long or horizontal ( 增上寺), as a basis [13] and with references strokes. These strokes are so long that their lengths from/proofreading against Chinese versions of Zifuzan (資 sometimes almost match horizontal stokes of the word of 福藏)from Song Dynasty, Puninzan (普寧藏)from Yuan “Yi (一)” (Figure 1-c). The word as a whole looks so Dynasty and “Jiaxing Tripitaka.” From Ming Dynasty. conservatively square. For words in Figure 1-b and 1-f, “Hongjiao Tripitaka” was set up and printed using No. 5 short horizontal strokes are short. Each horizontal stroke lead characters. That’s the reason why it is also called leans upwards to the right side. Only dot strokes for “side” “Compact-Printed Tripitaka” (縮刷藏) [14]. strokes in Figure 1-a and 1-h still remain written word side stroke’s original style, i.e., dot shape strokes for cursive
THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 63 No. 1 2016 43 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 3 words.However, side stroke in Figure 1-e changed to long side stroke to straight stroke not only adjusts typeface straight stroke which connects with vertical stroke. This stroke structure but also lengthens stroke structure while, in enhances pause point for starting stroke and strokes are the meantime, makes the whole typeface more stable and therefore thickened. Visually they look relatively slimmer square. This is because the whole “Zi (之)” Tze would and longer. This has become a special stroke feature which appear flat and visual effect during reading would therefore is different from the dot shape illustrated in Figure 1-a. be affected if its side stroke was changed to a horizontal stroke such as the one for Yong Tze (Figure 1-c). Table 1. Table of Contents for “Jiaxing Tripitaka” and 6.2.2 Horizontal Stroke (Le Methodology 勒法) “Hongjiao Tripitaka” “Le( 勒 )” means balance. The “Sha ( 下 )” Tze in Name of Scripture Dynasty Year Meiji, Japan (14th to18th “Hongjiao Tripitaka” (Figure 3-a) has straight Le strokes (a) Ratnakuta Sutra 1881~1885 year) while most Le strokes for “Sha (下)” Tze in “Jiaxing Shih-hsiang po-jo-po-lo-mi Wangli, Ming Dynasty, (b) st 1603 ching China (31 year) Tripitaka” (Figure 3) illustrated, as shown from Sutras table Wangli, Ming Dynasty, (c) Shin-Li-Zu-Yin-Fa-Men-Ching 1591 China (19th year) of contents (Table 2), features of unified brush-pen starting Da foding rulai miyin xiuzheng Wangli, Ming Dynasty, (d) liaoyi zhupusa wanxing st 1603 points and some of them come with both square and round China (31 year) shoulengyan jing Fo-Shuo-Chu-Gai-Zhang-Pu-Sa- Wangli, Ming Dynasty, features. Strokes that apparently lean upwards to the right (e) th 1608 Suo-Wen-Jin China (36 year) with 50 degrees and become slightly thicker at the point Wangli, Ming Dynasty, (f) Fo-Shuo-Pu-Sa-Si-Chu-Jin th 1608 China (36 year)) when brush-pen is retrieved are illustrated in Figure 3-d and Wangli, Ming Dynasty, (g) Six Pāramitās Sūtra th 1591 China (19 year) 3-e. As for Le strokes on the remaining “Sha (下)” Tze, Chronicle of the Buddhas and Wangli, Ming Dynasty, (h) nd 1614 the Patriarchs China (42 year） their overall thickness and thinness are relatively consistent and they’re all apparently horizontal and flat with triangular shape appearing at the end of strokes. These are similar to the ones shown on the strokes of “ Ratnakuta Sutra(大寶 積經). ”
Table 2. Tables of Contents for “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Name of Scripture Dynasty Year Meiji, Japan (14th to 18th (a) Ratnakuta Sutra 1881~1885 year) Figure 1. Side stroke (dot) for Yong Tze in “Jiaxing Tripitaka” Mahayana Tienchi, Ming Dynasty, (b) th 1624 Mahaparinirvana Sutra China (4 year) and “Hongjiao Tripitaka” Tienchi, Ming Dynasty, (c) ta-pei Sutra th 1624 China (4 year) Sutra of Carrying the Tienchi, Ming Dynasty, (d) Coffin to the Grave After th 1627 China (7 year) the Death of the Buddha Fo Shuo Wu Yai Ji Zong Tienchi, Ming Dynasty, (e) 1627 Chi Fa Men Jin China (7th year) Avalokiteśvara-bodhisattv a-mahatma Tienchi, Ming Dynasty, (f) 1627 -prāta-bodhisattva-vyākar China (7th year) Figure 2. Side stroke (dot) for Yong Tze in “Jiaxing Tripitaka” ana-sūtra Wu Bai Di Zi Tze Shuo Tienchi, Ming Dynasty, (g) 1627 and “Hongjiao Tripitaka” Ben Chi Jin China (7 年) Commentary on Great Tienchi, Ming Dynasty, (h) 1627 Holy Dhāraṇī China (7th year) Furthermore, side stroke for “Zi (之)” Tze in “Jiaxing Tripitaka” (Figure 2-b) was modified to long straight stroke. Side stroke in Figure 2-a was also presented in straight stroke style and, when compared with strokes in Figure 2-b, pause point for retrieving pen has been enhanced, strokes have been thickened and therefore visually they appear more steady and strong. Accordingly, as far as side stroke modification is concerned, not only scripture engraving convenience should be considered but the visual decorative Figure 3. Le (horizontal stroke) for “Sha (下)” Tze on “Jiaxing effect shall also be considered. Changing of “Zi (之)” Tze’s Tripitaka” and “Hongjiao Tripitaka”
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6.2.3 Vertical Stroke “Nu(努)” Tripitaka” illustrated distinctive hook at the end of stroke “Nu(努)” means vertical strokes. Vertical Strokes for but the hook is shorter in length compared with the ones on “Jong( 中 )” Tze on “Hongjiao Tripitaka” (Figure 4-a) “Hongjiao Tripitaka.” As for angles of the hooks, they’re illustrate, as shown on Sutras table of contents (Table 3), mostly about 900. On the contrary, hook strokes in Figure straight and thick strokes without narrow middle section 5-g and 5-h illustrate special feature of dropping about 50. and are relatively round at the end of strokes. As for vertical Most of them come with the feature of having an edge strokes for “Jong(中)” Tze on “Jiaxing Tripitaka,” strokes sticking out towards the right at the point where brush-pen in 7 scriptures are all thick and solid and are obviously started. However, stroke illustrated in Figure 5-e is very thicker at the point where brush-pen started. But they are special because it is a straight vertical stroke. However, tilted upwards in an arch shape at the point where the strokes at the point of pause on “Hongjiao Tripitaka” are brush-pen was retrieved. These features are especially relatively sharper. obvious in Figure from 4-f to 4-h. Vertical strokes in “Jiaxing Tripitaka” and “Hongjiao Tripitaka” both come Table 4. Tables of Contents for “Jiaxing Tripitaka” and with the feature of distinctive edges sticking out towards the “Hongjiao Tripitaka” Name of Scripture Dynasty Year right. Meiji, Japan (14th to 18th (a) Ratnakuta Sutra 1881~1885 year) Shunji, Qing Dynasty, (b) Akșayamati Sutra 1657 China(14th year) Shunji Period, Qing Dynasty, (c) Pusa Yingluojing China Shunji, Qing Dynasty, China (d) Lankavatara-Sutra 1645 (2nd year) Kansi, Qing Dynasty, China (e) Jiao Sheng Fa Su 1662 (2nd year) Chienlon, Qing Dynasty, (f) Ox-Herding Verses 1784 China (49th year) Shunji, Qing Dynasty, China (g) Six Syllable Incantation th 1656 (13 year) Kansi, Qing Dynasty, China Figure 4. “Nu(努)” (Vertical Stroke) for “Jong(中)” Tze on (h) Fa Hua Wen Ju Ji th 1665 (4 year) “Jiaxing Tripitaka” and “Hongjiao Tripitaka”
Table 3. Tables of Contents for “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Name of Scripture Dynasty Year Meiji, Japan (14th to 18th (a) Ratnakuta Sutra 1881~1885 year) Chonjen, Ming Dynasty, (b) Fo Shuo Pu Men Pin Jin 1630 China (3rd year) Sutra on The Lion's Roar of Chonjen, Ming Dynasty, (c) st 1628 Queen Srimala China (1 year) Chonjen, Ming Dynasty, (d) Chi Ren Pu Sa Suo Wen Jin th 1637 China (10 year) Figure 5. Vertical hook for “Sui (水)” Tze on “Jiaxing Chonjen, Ming Dynasty, amba saja niganta st nd (e) China (1 year) to（2 1628~1629 biwanggirit be alire nomun Tripitaka” and “Hongjiao Tripitaka” year） Fo Shuo Da Kongqiao Chonjen, Ming Dynasty, (f) th 1632 Wang Za Shen Zhou Jing China (5 year) 策 Tsun Shen Pu Sa Suo Wen 6.2.5 Lift-Up “Ce ( )” Yi Qie Zhu Fa Ren Wu Chonjen, Ming Dynasty, (g) nd 1629 “Ce (策)” means face-up horizontal strokes. As shown Liang Fa Men Tuo Lo Ni China (2 year) Jin by the Table of Contents of Sutras (as Table 2 above), Ce Chi Fo Suo Shuo Shen Chonjen, Ming Dynasty, (h) 1642 Zhou Jin China (15th year) stroke for “Yi (以)” Tze on “Jiaxing Tripitaka” (Figure 6) has a tilting angle of about 450~550, which is slightly 6.2.4 Hook(鈎) “Leap Methodology(趯法)” different from 350 of angle and slightly longer with some of Hook in Yong Tze Eight-Stroke Methodology is called them even connecting with dot strokes, when compared “Leap(趯)”. Vertical hook for “Sui (水)” Tze on “Hongjiao with “Hongjiao Tripitaka” typefaces (Figure 6-a). Tripitaka” (Figure 5-a) illustrates, as shown on Sutras table Ce strokes for “Hongjiao Tripitaka” have relatively of contents (Table 4), obvious half-arch mountain shape at thicker and curve starting points while the ones for “Jiaxing the point where brush-pen started. Angle of the hook at the Tripitaka” have flat and straight starting points. Starting 0 end of stroke is about 90 and there is an obvious feature of points illustrated in Figure 6-c and 6-f are thickened with long and thin at the end of stroke. Vertical hooks in “Jiaxing obvious sliced-thinness at the end of stroke.
THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 63 No. 1 2016 45 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 5 equivalent height with the one for “Jiaxing Tripitaka” but with slightly thicker stroke, vertical and straight in the middle section close to the end of stroke, and a tilting angle of about 450.
Figure 6. Ce stroke for Yi (以) Tze on “Jiaxing Tripitaka” and “Hongjiao Tripitaka”
6.2.6 Long Sliding Stroke(長撇) (Skim Methodology 掠 法) Figure 8. Peck (shorting sliding stroke) for “Yong 永” Tze on Long sliding stroke methodology in Yong Tze “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Eight-Stroke Methodology is called “Skim.” As shown by the Table of Contents of Sutras (as Table 3 above), skim 6.2.8 Nai Stroke(捺) (Shuo Methodology 磔法) stroke for “Tien (天)” Tze in “Jiaxing Tripitaka” (Figure 7) This is called “Shuo” in Yong Tze Eight-Stroke has a tilting angle of roughly 500~550 with thickness similar Methodology (永字八法). Starting point for “Yong (永)” to the one on “Hongjiao Tripitaka” (Figure 7-a) but more Tze Long Nai stroke on “Hongjiao Tripitaka” (Figure 9-a) obvious curve than the one on “Jiaxing Tripitaka.” Skim connects with the both Le and Nu strokes. Radian of the stroke for “Tien (天)” Tze on “Hongjiao Tripitaka” has a stroke is also more obvious with an angle of about 600 flat and even starting point. It is very obvious that straight against a horizontal surface while the angle between peck vertical stroke was written first and then the stroke changed stroke and long nai stroke is about 900. As shown by the to an arc shape. However, skim strokes for “Tien (天)” Tze Table of Contents of Sutras (as Table 1 above), length for on “Jiaxing Tripitaka” all have a portion sticking out at the Long Nai stroke on “Jiaxing Tripitaka” is shorter than the beginning point with obvious sliced-thinness at the end of one on “Hongjiao Tripitaka.” Some Nai strokes connect stroke. with “Nu” strokes with an angle of about 450 against a horizontal surface. A more special example illustrated in Figure 9-g has an angle of about 200 with thicker and shorter Nai stroke.
Figure 7. Skim(long sliding stroke) for “Tien (天)” Tze on “Jiaxing Tripitaka” and “Hongjiao Tripitaka”
6.2.7 Short Sliding Stroke(短撇) (Peck Methodology 啄 Figure 9. Long Nai stroke for “Yong(永)” Tze on Tze on 法) “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Short sliding stroke methodology is called “peck” because its writing posture resembles a bird pecking at food. 6.3 Typeface Formation Cross Comparison Among As shown by the Table of Contents of Sutras (as Table 4 “Jiaxing Tripitaka” and “Hongjiao Tripitaka” above), retrieving point for “Yong (永)” Tze peck stroke on A cross comparison among Ming Dynasty and Qing “Jiaxing Tripitaka” (Figure 8) connects with the last stroke. Dynasty engraved typefaces on “Jiaxing Tripitaka,” lead Tilting angle for the stroke is about 400~450. However, typefaces on “Hongjiao Tripitaka” and stroke illustrated in Figure 8-e has a higher angle of about DFMingMedium-B5 typefaces used in computers 400. While the retrieving point angle for “Yong (永)” Tze nowadays has been conducted using typeface overlapping peck stroke on “Hongjiao Tripitaka” (Figure 8-a) is of method. Stroke comparison and analysis has been
466 BTHE U L LSCIENCE E T I N O F JSSD Vol.OF DESIGN 63 No. BULLETIN 1 2016 OFTHE JSSD SCIENCE Vol. OF 53 DESIGN No. 1 2006 conducted on words of “Zhi(之)”. changed vertical stroke. Dot stroke for “Yong(永)” Tze As far as “Zhi(之)” Tze is concerned, there is a high (Figure 11(d)) still used round dot stroke style until proportion of overlapping among typefaces on “Jiaxing Chonjen period of Ming Dynasty. Out of 401 Sutra ancient Tripitaka,” while typefaces on “Hongjiao Tripitaka” have scriptures in “Jiaxing Tripitaka,” we’ve found that dot the biggest overall stroke structure and, with the exception stroke for “Yong(永)” Tze illustrated dot shape in only 2 of difference on respective stroke proportion, they scriptures , straight vertical shape in only 3 scriptures, while generally have stroke features similar to the ones on horizontal stroke in the remaining scriptures. This explains “Jiaxing Tripitaka.” For instance, straight vertical dots that cases of dot stroke being changed to horizontal stroke used on“Jiaxing Tripitaka” and “Hongjiao Tripitaka” are clearly existed in “Jiaxing Tripitaka.” similar to dot strokes of DFMingMedium-B5 typefaces used in computers nowadays. As for slide strokes, engraved typefaces on “Jiaxing Tripitaka” are more tilted but straight.
The tilted angle is larger than the one for “Hongjiao (a) (b) (c) (d) (e) Tripitaka” lead typefaces. On the other hand, Figure 11. “Yong(永)” Tze (a)-(e) on “Ratnakuta Sutra” DFMingMedium-B5 typefaces used in computers edition(a), Wangli 21st -24th year, Ming Dynasty (1593-1596), “Chronicle of the Buddhas and the Patriarchs” nowadays only have slightly tilted angles. Lastly, we edition(b), Wangli 42nd year compare them based on Nai strokes. Nai strokes on these (1614) , “Fo-Shuo-Chu-Gai-Zhang-Pu-Sa-Suo-Wen-Jin” edition(c), Wangli 36th year, Ming Dynasty (1608) , “Sutra on four typefaces are all flat Nai strokes with brush-pen sliding The Lion's Roar of Queen Srimala” edition(d), 1st year, down directly after pause point. Furthermore, Nai stroke Chonjen, Ming Dynasty (1628) , “Pi Ya Po Wen Jin” edition(e), end of Ming Dynasty. angles for engraved typefaces on “Jiaxing Tripitaka” from
Kansi period of Qing Dynasty are larger than the ones for For further comparison, we analyze “Yong(永)” Tze “Hongjiao Tripitaka” lead typefaces (Figure 10). “side” strokes (Figure 12(a)) on other ancient scriptures from Wangli period of Ming Dynasty of China. We’ve found that there were cases of following previous dot stroke styles. However, there were also cases of dot strokes being changed to horizontal stokes (Figure 12(b)). Furthermore, dot stroke illustrated in Figure 12(c) was changed to a vertical stroke. As far as “Zhi (之)” Tze is concerned, examples illustrated from Figure 12(d) to (e) all followed previous straight vertical stroke style. On the other hand, Figure 10. Comparison of “Zhi(之)” Tze typefaces on “Jiaxing “Zhi (之)” Tze on “Collections of Mr. Chang Li (昌黎先生 Tripitaka,” “Hongjiao Tripitaka” and DFMingMedium-B5 typefaces used in computers nowadays 集)” (Figure 13(a)) was presented in dot stroke style. We’ve found from all these examples above that changing dot 6.4 Exploration of “Jiaxing Tripitaka” and “Hongjiao stroke to horizontal stroke or straight vertical stroke was a Tripitaka” Typeface Characteristics common practice in Ming Dynasty of China. (1) Special Cases for Existence of Dot (Side Methodology) As for “Yong(永)” Tze on “Hongjiao Tripitaka” (Figure Based on analysis of “side” strokes on “Jiaxing 13(c)), its dot stroke is also of water drop round shape style. th th Tripitaka,” we learn that cursive dot shape stroke was “Hongjiao Tripitaka” was printed from Meiji 14 to 18 changed to straight vertical or horizontal stroke in Ming year of Japan (1881-1885), which is equivalent to the th th Dynasty of China. We will use “Yong(永)” Tze formation period of Guangxu 7 year to 11 year in China. “Hongjiao to explain this. In “Jiaxing Tripitaka,” there are cases that Tripitaka” was printed after “Jiaxing Tripitaka”, which was dot strokes were changed to horizontal strokes (Figure 11 engraved during the period from Wangli period of Ming (a)and (e)). There were long as well as short strokes for Dynasty to Yonzheng period of Qing Dynasty. Engraved horizontal strokes in both typefaces. However, for editions of “Jiaxing Tripitaka” dated closest to time period “Yong(永)” Tze in the same period (Figure 11(b)), there of “Hongjiao Tripitaka” lead typefaces are “Ox-Herding th still were cases of strokes engraved in dot shape. Dot stroke Verses” (Figure 13(b)) of Chienlon 49 year, Qing Dynasty for “Yong(永)” Tze illustrated in Figure 11(c) was even (1784). Their dot strokes come with horizontal stroke style
THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 63 No. 1 2016 47 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 7 while “Yong(永)” Tze on “Hongjiao Tripitaka” (Figure horizontal strokes (Figure15(a)~(b)). Figure 15(c) illustrated a different example whose dot stroke for “Zhi 13(c))has round dot shape stroke. “Zhi (之)” Tze on (之)” Tze was presented in water drop formation. While dot “Hongjiao Tripitaka” (Figure 13(c)), however, comes with stroke for “Zhi (之)” Tze illustrated in Figure 16(a) proved straight vertical style for “side” stroke. This illustrates that that characteristic of dot stroke being changed to straight application for “side” stroke on the same scripture has two vertical stroke also appeared on ancient scriptures in Song 永 ways of presentation. “Jiaxing Tripitaka” also collected Dynasty. However, dot stroke for “Yong ( )” Tze on Figure 16(a) was presented in water drop formation. “Ratnakuta Sutra”. However, dot stroke for this scripture Therefore, as far as dot stroke application is concerned, was presented in horizontal stroke (Figure 11(a)) which there are two “dot” presentations from different typefaces differs a lot from “Yong( 永 )” Tze dot stroke on on the same scripture. Furthermore, dot stroke for “Yong(永)” Tze in Figure 15(b) illustrate obvious water “Ratnakuta Sutra” collected in “Hongjiao Tripitaka” drop shape. A more special case is that a dot stroke was (Figure 13(c)). With respect to ancient Sutra of “The changed to a horizontal stroke typeface formation (Figure Flower Ornament Sutra”(Figure 14(a)) dated close to the 15(c)). This is also an example that there are two “dot” engraving time of “Hongjiao Tripitaka,” “Yong(永)” Tze stroke formations on the same scripture with respect to dot stroke application. dot stroke was presented in horizontal stroke. This is different from “Hongjiao Tripitaka” “Yong(永)” Tze dot stroke which is presented in dot stroke. As for “Zhi (之)” Tze, its dot stroke was also changed to vertical stroke. This (a) (b) (c) feature is same as the one on “Hongjiao Tripitaka.” Figure 14. “Yong(永)” Tze (a)、(b) and “Zhi (之) ” Tze Through further tracing backwards, we’ve found that (a)-(c) on “The Flower Ornament Sutra” edition (a) dated th nd Yen, Jen Chin’s (顏真卿) “Yen Chin Li Bai (顏勤禮碑)” Guangxu 15 to 22 year of Qing Dynasty (1889-1896), “Yen Chin Li Bai” (b), from Yen, Jen Chin’s cursive typefaces dated (Figure 14(b)) from Tang Dynasty have dot strokes written Dali 14th year (779 AD), “Diamond Sutra” (c), from Liu, th in round dots, and dot strokes for their “Zhi (之)” Tze also Gong Quan’s cursive typefaces dated Zhangchin 4 year (824 AD). come with the style of round dots(Figure 14(b)). As for “Zhi (之)” Tze from Liu, Gong Quan (Figure 14(c)), it is also presented in dot stroke typeface formation. Typefaces above illustrate that writing methodology creates typeface (a) (b) (c) formation styles and dot strokes are formed following Yong Figure 15. “Yong(永)” Tze (b)、(c) and “Zhi (之) ” Tze Tze Eight-Stroke Methodology. (a)-(c) on “Zheng Fa Nian Chu Jin” Tripitaka edition (a) dated Shaoshen 4th year of North Song Dynasty (1097 AD), “Lo Mo Jia Jin” Tripitaka periodical edition (b), dated end of North Song Dynasty, “Samyukt-agama Sutt” rd Tripitaka edition (c) dated Shaoshen 3 year of North Song Dynasty (1096AD).
(a) (b) (c) (d) (e) Figure 12. “Yong(永)” Tze (a)-(c) and “Zhi (之) ” Tze (d)-(e) th on “Zhou Yi Shuo Zhi Cun” edition (a), Wangli 19 year, rd Ming Dynasty (1591), “Six Classic” edition (b), Wangli 43 (a) (b) (c) year, Ming Dynasty (1615), “Mao Poem Interpretation” th Figure 16. “Yong(永)” Tze (a) and “Zhi (之) ” Tze (a)-(c) edition (c), Wangli 17 year, Ming Dynasty (1589), “San Guo rd th on “Gu Zun Su Yu” reprinted edition (a) dated Xianchun 3 Ji” edition (d), Wangli 24 year, Ming Dynasty (1596), “Qi year (1267AD), “Prajnaparamita-Sutra” Tripitaka Min Yao Shu” edition (e), Wangli period, Ming Dynasty. sub-edition (b), from Huangton to Dadin period of Jin
Dynasty, “Ji Sa Men Bu Yin Bai Su Den Si” Tripitaka sub-edition (c) from Huangton to Dadin period of Jin Dynasty
We further look at dot stroke on “Zhi (之)” Tze from Jin (a) (b) (c) Figure 13. “Yong(永)” Tze (b)、(c) and “Zhi (之) ” Tze Dynasty. Shape of the dot stroke comes with slight triangle (a)、(c) on “Collections of Mr. Chang Li” edition (a), Wangli feature. These dot strokes connect with horizontal strokes period, Ming Dynasty, “Ox-Herding Verses” edition (b), and their hooks are relatively sharper (Figure 16(b) and (c)). Chienlon 49th year, Qing Dynasty (1784), “Tze on “Ratnakuta Sutra” edition (c), Meiji 14th to 18th year, Japan. In Jin Dynasty, dot strokes are all round shape strokes (Figure 17(a) and (b)). However, there are still cases that We learn from even more research samples that most dot strokes were changed to straight vertical strokes (Figure dot stroke characteristics in North Song Dynasty for “Zhi (之)” Tze were all round dots and were separated from 17(c)). As for “Yong (永)” Tze, it has a water-drop shape of
488 THEB U L LSCIENCE E T I N O F OF JSSD Vol. DESIGN 63 No. BULLETIN 1 2016 OFTHE JSSD SCIENCE Vol. OF 53 DESIGN No. 1 2006 dot stroke (Figure 17(a)). However, dot stroke in Figure Tripitaka” (Figure 19(a)), the Sutra of “Hongjiao Tripitaka” 17(c) was changed to straight vertical stroke which is same (Figure 19(b)), and DFMingMedium-B5 typefaces (Figure as the one for “Zhi (之)” Tze. Also in the case of “Yong 19(c)) which are used in computer nowadays all come with (永)” Tze, its dot stroke connects with vertical hook stroke. features of thin horizontal strokes, thick vertical strokes and straight strokes. Therefore, by the time when typeface evolution reached “Jiaxing Tripitaka,” typeface formation already had DFMingMedium-B5, which are used in (a) (b) (c) Figure 17. “Yong(永)” Tze (a)、(c)and “Zhi (之) ” Tze (a)-(c) computer nowadays, typeface structures as well as specific on “The Wonderful Dharma Lotus Flower Sutra” (a) Su Shi typeface outlines. As a result of this, the whole typeface hand-writing scripture reprinted in Yuan Dynasty, “Vajra structure had become even more specific by the time when Prajna Paramita Sutra” Chu Mo engraved edition (b) dated Jizheng 1st year of Yuan Dynasty (1335 AD), “Mahāyāna typeface evolution reached “Hongjiao Tripitaka” lead Sūtra of Consciousness Revealed” Tripitaka edition (c) printed engraved Tripitaka. However, their horizontal and vertical during Jiyuan period of Yuan Dynasty. strokes are slightly thicker than the ones on As for “Yong( 永 )” Tze on DFMingMedium-B5 DFMingMedium-B5 typefaces which are used in computer typeface(Figure 18(a)) which is used in computer nowadays nowadays. Generally, these strokes already come with and “Yong(永)” Tze on standard Song typeface (Figure modern printing typeface appearances. 18(b)) from the Ministry of Education of Taiwan, dot stroke styles for these two do not have horizontal stroke typeface features as the ones illustrated on ancient scriptures. Rather, both of them are presented in long water drop stroke (a) (b) (c) Figure 19. “Shi (十)” Tze (a) -(c) on “Prajnaparamita-Sutra” style.As for “Zhi (之)” Tze, dot stroke on standard Song (a), “Ratnakuta Sutra” (b), DFMingMedium-B5 typeface typeface from the Ministry of Education of Taiwan is still which is used in computer nowadays. presented in slightly long water drop shape (Figure 18(b)). However, dot stroke for “Zhi ( 之 )” Tze on 7. Conclusion DFMingMedium-B5 typeface, which is used in computer With respect to typeface formation comparison, nowadays, is changed to long vertical stroke (Figure 18(a)). “Jiaxing Tripitaka” “side” strokes changed cursive dot From analysis over cases of modern typefaces above we strokes to horizontal or vertical strokes. This is probably for find that Han Tze typeface dot stroke does not present the purpose of ensuring engraver’s speedy typeface consistent standard forms in today’s printing typeface engraving under huge demand from scripture printing. design. Because of this, original cursive typeface strokes went through some modifications and gradually engraved typefaces were developed accordingly. This also has influences over engraving measures in latter days. Through in-depth exploration of engraved typefaces dated before (a) (b) Figure 18. “Yong(永)” Tze and “Zhi (之) ” Tze (a)-(b) on Wangli period of Ming Dynasty, especially those in Song DFMingMedium-B5 typeface (a) which is used in computer Dynasty and Ming Dynasty, we have found cases of nowadays, standard Song typeface (b) from the Ministry of modified engraved typefaces. However, both of them are Education of Taiwan. not very mature as far as typeface unity and completeness ( 2 ) Features of Thin Horizontal Stroke and Thick Vertical are concerned. Nevertheless, prior to the invention of Stroke on “Jiaxing Tripitaka” and “Hongjiao Tripitaka” printing, there were already cases in Clerical Script which Although a few of “Jiaxing Tripitaka” typeface stroke changed dot stroke to horizontal line or straight vertical formations still inherited cursive typeface style, most of stroke. This is a proof that such practice was not an unique them come with thin horizontal stroke and thick vertical invention by “Jiaxing Tripitaka.” We can only say that dot stroke feature and there is a fixed thickness/thinness engraved typefaces from some Sutras of “Jiaxing Tripitaka” proportion between horizontal and vertical strokes. inherited presentation styles from previous dynasties and Thickness for horizontal stroke ranges from one-third to then added some modifications. This has influences over one-fifth of vertical stroke thickness. Take “Shi (十)” Tze subsequent “Hongjiao Tripitaka,” whose side stroke still for example, strokes for the first Sutra of “Jiaxing has engraved typeface features of horizontal and straight
THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 63 No. 1 2016 49 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 9 vertical strokes. Even now, there are still no unified However, it seems that there are hardly related messages on typeface stroke standards for DFMingMedium-B5 Han Tze’s presentation in ancient Sutras as well as if there typefaces, which are used in computer nowadays, or are factors influencing modern Han Tze typeface formation. standard Song typeface published by the Ministry of this research shows the standard and the variety of the Education of Taiwan. Therefore, as far as presentation on subject typefaces. Therefore, in designing a typeface, it is various typefaces is concerned, Ming typefaces nowadays essential to have abundant variation as well as a strict are still lacking rules for consistency. Take “side” stroke for standard. It is hoped that, through systematic argumentation example. Some typefaces still maintain Regular Script dot and organization, this research will be able to assist in-depth strokes while some others are presented in horizontal stroke understanding of typeface design’s relationship on or straight vertical stroke. historical culture and social background evolution, and Overall, stroke thickness is also one of the differences. allow a more holistic presentation on the evolution of Sutras typefaces in “Jiaxing Tripitaka” have the thickest Chinese Han Tze for the purpose of providing a aesthetics strokes while DFMingMedium-B5 typefaces, which are and cultural argumentation background basis for Han Tze used in computer nowadays, have the thinnest strokes. related script editing design application, teaching and “Jiaxing Tripitaka” and “Hongjiao Tripitaka” Typefaces research. both come with obvious features of thin horizontal strokes and thickened straight vertical strokes. Meanwhile, References proportion of horizontal strokes against vertical strokes for 1) 刘淑芬, 中古的佛教与社会, 上海古籍出版社, 2008 “Hongjiao Tripitaka” Typefaces is roughly 1:4, and they 2) Chi-Shoung Tzeng, Chang-Ching Lin, Kae-Shiun Yang. also have the biggest decorative corners. Such changes are A Research on the Historical Development of Typeface. probably for the purpose of ensuring more stable typeface Journal of Science and Technology. National Yunlin structure. This feature is similar to the one on University of Science and Technology 2001;10(3): DFMingMedium-B5 typefaces which are used in computer 219-229 nowadays. In addition, most engraved typefaces in “Jiaxing 3) Chi-Shoung Tzeng, I-Tzu Hung. The Characteristic Tripitaka” obviously still maintain cursive typeface circular Comparison between Yan and Liu’s Written Words and arc style for Leap (hook) strokes. “Hongjiao Tripitaka” was Ming Font. ICOGRADA International Design Education made using copper casting and outlines for its Leap (hook) Seminar Research Paper Collection 2002;10:001-016 strokes are more clear-cut without relics of cursive 4) I-Tzu Hung. The Characteristics of Printing Words and typefaces. Rather, Leap (hook) strokes are connected with Editing Style during Wan-Li Era of Ming Dynasty. straight tilted line which comes with the prototype of Graduate School of Visual Communication Design, modern day Ming Typefaces. As space between typefaces, National Yunlin University of Science and Technology, typeface space for “Hongjiao Tripitaka” is more consistent. 2003 Horizontal lines are flat and straight, and typefaces as a 5) 國家圖書館特藏組編, 國家圖書館善本書志初稿, 國 whole present a relatively square style. On the other hand, 家圖書館, 1 , 2000 some horizontal strokes in “Jiaxing Tripitaka” are tilted 6) 藍吉富, 嘉興大藏經的特色及其史料價值, 佛教的思 because of engraver’s different engraving angles. 想與文化－印順導師八秩晉六壽慶論文集, 法光出版 These features illustrate that “Jiaxing Tripitaka” 社, 255-266, 1991 typefaces do have characteristics of typeface which is called 7) 章宏传, 故宫问学, 紫禁城出版社, 1, 2002 Ming Typeface nowadays. On the other hand, “Hongjiao 8) 吴德新, 佛家简史, 华龄出版社, 148-159, 2005 Tripitaka” proves Ming Typeface’s influence over Japanese 9) 藍吉富, 中國佛教泛論, 新文豐出版社, 122-124, 1999 printing typefaces. It also has influence over 10) 曹之, 中國古籍版本學, 洪葉文化, 1994 DFMingMedium-B5 typefaces which are used in computer 11) 杜继文, 佛教史, Jiangsu People’s Publishing House. nowadays by allowing more wide-spread utilization of 333, 2008 Ming Typeface’s unique features of thin horizontal strokes 12) 章宏传, 出版文化史论, 华文出版社, 2002 and thick vertical strokes. 13) 罗树宝, 中国古代图书印刷史, 岳麓书社, 2008 In modern visual design education field, there is related 14) Xhi Shen Yen. History of Japan Buddhism. Modern application training on Chinese Han Tze typeface formation. Buddhism Academic Periodical 1980; 82: 115-231
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