COMPARISON & RESEARCH ON TYPEFACE FORMATION OF JIAXING TRIPITAKA AND HONGJIAO TRIPITAKA

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1 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 India Buddhism started to spread in China in around 2 BC. Through the process of Chinese localization, numerous translation and printing works of Sutras classics began to emerge. Judging from the printed objects discovered from the early days of China, we learn that the number of Sutras ancient scriptures is phenomenal. As such, this had opened the most prosperous period for Chinese printing technology. Furthermore, various different versions of printed Sutras were produced in different times of history. From the hand-written context in the early days to the engraved printing in the latter stage, a huge amount of presentation styles on typeface creation and editing had accumulated accordingly. Numerous Chinese relics and ancient documents have proved that Buddhist monks and their followers were the first ones to use engraved printing. Because of demands at that time, Buddhism texts and sculptures were replicated and followers demonstrated their devotion to religion by the quantity of their replicated materials. The process of large amount replicated Sutras proved that religious activity was one of the factors for the invention and promotion of printing. Sutras scriptures translated in Chinese had spread into Chosun in around 4 th or 5 th century AD. In the beginning of the 6 th century AD (522 AD), Si, Ma-Da, a Chinese from Nan Liang, brought Sutras scriptures to Japan. It is said that this was the beginning of Buddhism s spreading into Japan[1]. Among China s exchange relationship with Japan, Buddhism accounts for an extremely part of mportance on the exchange of national cultures. Accordingly, we learn to understand the relationship existed on typeface formation presentation through Sutras ancient scripture typeface characteristics on Jiaxing Tripitaka and Hongjiao Tripitaka as well as DFMingMedium-B5 typeface used in modern day computers. Exploration on such subject helps connect the evolution rocess for modern day Ming Typeface. DFMingMedium-B5 typeface was chosen for comparison by the following reason. It has a lot of common 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

2 the left end of a horizontal stroke. And DFMingMedium-B5 typeface is one of the most standard typefaces published by the Ministry of Education of Taiwan. 2. Purpose of Research The reason for setting Jiaxing Tripitaka and Hongjiao Tripitaka as subjects for this research is mainly because of emphasis on historical status evolution on printing exclusive typefaces of Ming Typeface, Song Typeface and imitated Song Typeface presented through previous study on A Research on the Historical Development of Typface, [2] The Characteristic Comparison between Yan and Liu s Written Words and Ming Font [3]and The Characteristics of Printing Words and Editing Style during Wan-Li Era of Ming Dynasty. [4] This research utilizes previous study results as the basis for Buddhism Tripitaka in-depth comparison of differences and commonalities between engraved typefaces of Chinese Jiaxing Tripitaka and lead typefaces of Japanese Hongjiao Tripitaka. Further comparison was then made between them and DFMingMedium-B5 typeface which is used nowadays in order to understand their roles in the evolution of print typefaces. 3. Research Methods Research method for this research mainly focuses on the investigation and comparison of actual relics. It also utilizes research results from the fields of Study of Edition, History of Publication, History of Printing, Study of Tze, Editing and Design, Study of Historical Documents and Study of Buddhist Scripture Version as a basis and, with comparison as the starting point, make comparison on typeface formation. Subjects of this research include Dikan edition from the Wangli period of the Ming Dynasty to the early stage of the Qing Dynasty listed in the category of Zi-Bu-Shi-Jia-Lei with the full name of Jiaxing Lengyen Temple Ancient Book Tripitaka and collected by the National Central Library, and Zi-Bu-Shi-Jia-Lei-Jin-Lu-Lun-Shu which dated back between 14 th and 18 th year of the Meiji Dynasty in Japan under the full name of Tokyo Hongjiao Academy Compact Edition and collected by the National Palace Museum of Taiwan. The reason for selecting Jiaxing Tripitaka and Hongjiao Tripitaka is because these two scriptures were created via printing instead of handwritten. Comparison method for typeface formation utilizes the so-called Yong Tze Eight-Stroke Methodology. Common words for these two Tripitakas have been selected to go through stroke formation process illustrated in Yong Tze Eight-Stroke Methodology. Comparison on typeface formation was then conducted using computer overlapping method. Finally, a summary of typeface formation differences and commonalities is drawn for the purpose of clarifying origins of typeface formation for Ming Typeface. 4. Scope of Research Jiaxing Tripitaka and Hongjiao Tripitaka are subjects for this research. Jiaxing Tripitaka includes Buddhism engraved scriptures from Ming Dynasty and Qing Dynasty. However, Ming Dynasty scriptures, which include scriptures from Wangli, Tienchi and Chongjen periods, account for the most part. Scriptures from Qing Dynasty include the ones from Shunzhi, Kansxi and Yongzheng periods. Japanese Hongjiao Tripitaka was created from the 14 th to 18 th year of Meiji Dynasty and this is the earliest Tripitaka to use movable character printing in Japan. This research utilizes 401 Buddhist scriptures in Jiaxing Tripitaka as research samples which include 323 of Ming Dynasty engraved scriptures and 78 of Qing Dynasty engraved scriptures as research subjects. While all 470 scriptures in Hongjiao Tripitaka were set up and printed in lead characters. Accordingly, as far as typefaces are concerned, they were all set up and printed using the same lead characters. Because of this, Ratnakuta Sutra ( 大寶積經 ), the first scripture of the whole collection of scriptures, has been selected to serve as the representative sample for the categorization of typeface comparison. 5. Discussion of Documents Sutras is one of the categories for ancient books. Among categorization for Chinese rare book booklist, Zi-Bu-Shi-Jia-Lei means Sutras[5]. For a long time after Buddhism scriptures were circulated into China, probably from East Han Dynasty to Sui Dynasty, they had always been called Scriptures or Yiqiejing. Later, they were named Tripitaka which is the generic term for Buddhism scriptures. 5.1 Establishment Backgrounds for Jiaxing Tripitaka and Hongjiao Tripitaka Tzu-po Chen-k'o, one of the four masters in the latter years of Ming Dynasty, initiated the engraving and printing of Jiaxing Tripitaka (1589AD -1677AD) in Leng Yan Temple in Jiaxing[6]. After being circulated to Japan, Jiaxing Tripitaka was called by the Japanese Buddhist community as China Scriptures or Ming Scriptures. It 42 B U L L E T I N O F JSSD Vol. 63 No THE SCIENCE OF DESIGN

3 was documented that fund raising started in the 14 th year of Wangli Period (1586 AD) and the first engraving started at the Zi-Xia-Gu-Miao-De-An in Mount Wutai. Engraving continued thereafter until the Jia Chin period of Qing Dynasty(1795AD -1820AD) [7]. This Tripitaka, which was engraved by private sector for two hundred years spanning from the latter years of Ming Dynasty to the early days of the Qing Dynasty, is the biggest in scale with the most complete context of Tripitaka translated in Chinese in the history of China. This is also the first set of thread-affixed ancient books of Tripitaka. Jiaxing Tripitaka and Zokuzokyo, which was engraved and printed in Japan, have both been praised as the treasure for Chinese Buddhism historical documents. This is a proof that Jiaxing Tripitaka exerted phenomenal influence over the promotion of Buddhism in Japan [8]. Tripitaka of Song Dynasty version brought back to Japan by Japanese monks was the main reason for the prosperous engraved printing business as well as speedy circulation of culture in Japan [9]. Although Sutras for various sects had been engraved and printed in Japan, a collection of complete scriptures had yet to be engraved and printed. Because of this, Japanese renowned monk Master Tetsugen Doko started, with assistance from Master Yin Yun who established Huang Po Sect in Japan, to translate and engrave Chinese Jiaxing Tripitaka from Kanbun 9 th year to Tenwa 1 st year (1669 AD AD) and called it Huang Po Zang. [10,11] As such, Ming Typefaces have become very popular in Japan and they have also become lead print typefaces commonly utilized by both China and Japan[12]. Japan s engraving of Tripitaka started with Tianhaizang which was then followed by Huang Po Zang and Manzizoku-pitaka. Huang Po Zang utilized Jiaxing Tripitaka as a basis and added some modifications or extra materials, and it has exactly the same layout as the one for Jiaxing Tripitaka. Zokuzokyo was then proofread against Komazo while Zokuzokyo focused mainly on collecting numerous long lost versions of scriptures here in China. Hongjiao Tripitaka was then engraved using Komazo, which was collected by Zojoji ( 增上寺 ), as a basis [13] and with references from/proofreading against Chinese versions of Zifuzan ( 資福藏 )from Song Dynasty, Puninzan ( 普寧藏 )from Yuan Dynasty and Jiaxing Tripitaka. From Ming Dynasty. Hongjiao Tripitaka was set up and printed using No. 5 lead characters. That s the reason why it is also called Compact-Printed Tripitaka ( 縮刷藏 ) [14]. 6. Comparisons of Typefaces and Strokes Formation between Jiaxing Tripitaka and Hongjiao Tripitaka As for sampling of strokes, ten representative words of 永 之 下 中 水 上 以 十 have been selected from Jiaxing Tripitaka and Hongjiao Tripitaka based on basic stroke practice words for average calligraphy. These words serve as basic words for the purpose of distinguishing typeface formation characteristics. Furthermore, verification is then conducted by comparing with DFMingMedium-B5 typefaces which are used in computers nowadays for the purpose of compilation and summarization. 6.1 Basis for Stroke Analysis This research utilizes Yong Tze Eight-Stroke Methodology ( 永字八法 ) as the stroke selection method. As for the origin of the Yong Tze Eight-Stroke Methodology, it is known that, roughly, this rule appeared in Sui/Tang Dynasty. After Tang Dynasty, it appeared frequently on various calligraphy critic books or articles. As for calligraphy society nowadays, Yong Tze Eight-Stroke Methodology is an important basis to understand Han Tze typefaces. 6.2 Analysis and Comparisons of Stroke Formation between Jiaxing Tripitaka and Hongjiao Tripitaka Selection of engraved typefaces of Jiaxing Tripitaka and lead typefaces of Hongjiao Tripitaka is mainly focused on engraved scriptures with word strokes illustrating distinctive thinness in horizontal strokes and thickness in vertical strokes. Each illustration of strokes presented hereunder puts Hongjiao Tripitaka typefaces in the first place of such illustration while other typefaces come from typefaces of respective scriptures of Jiaxing Tripitaka. Description of black chunk is used to emphasize stroke formation during stroke analysis Stroke of Dot (Side-Methodology) According to Yong Tze Eight-Stroke Methodology s explanation, stroke of dot is called side methodology. As illustrated by the table of contents of Sutras (Table 1), dot strokes for Yong Tze on Jiaxing Tripitaka (Figure 1) mostly changed short side strokes to long or horizontal strokes. These strokes are so long that their lengths sometimes almost match horizontal stokes of the word of Yi ( 一 ) (Figure 1-c). The word as a whole looks so conservatively square. For words in Figure 1-b and 1-f, short horizontal strokes are short. Each horizontal stroke leans upwards to the right side. Only dot strokes for side 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

4 words.however, side stroke in Figure 1-e changed to long straight stroke which connects with vertical stroke. This enhances pause point for starting stroke and strokes are therefore thickened. Visually they look relatively slimmer and longer. This has become a special stroke feature which is different from the dot shape illustrated in Figure 1-a. Table 1. Table of Contents for Jiaxing Tripitaka and Hongjiao Tripitaka Name of Scripture Dynasty Year (a) Ratnakuta Sutra Meiji, Japan (14 th to18 th year) 1881~1885 (b) Shih-hsiang po-jo-po-lo-mi Wangli, Ming Dynasty, ching China (31 st year) 1603 (c) Shin-Li-Zu-Yin-Fa-Men-Ching Wangli, Ming Dynasty, China (19 th year) 1591 (d) Da foding rulai miyin xiuzheng Wangli, Ming Dynasty, liaoyi zhupusa wanxing China (31 st year) shoulengyan jing 1603 (e) Fo-Shuo-Chu-Gai-Zhang-Pu-Sa- Wangli, Ming Dynasty, Suo-Wen-Jin China (36 th year) 1608 (f) Fo-Shuo-Pu-Sa-Si-Chu-Jin Wangli, Ming Dynasty, China (36 th year)) 1608 (g) Six Pāramitās Sūtra Wangli, Ming Dynasty, China (19 th year) 1591 (h) Chronicle of the Buddhas and the Patriarchs Wangli, Ming Dynasty, China (42 nd year) 1614 side stroke to straight stroke not only adjusts typeface stroke structure but also lengthens stroke structure while, in the meantime, makes the whole typeface more stable and square. This is because the whole Zi ( 之 ) Tze would appear flat and visual effect during reading would therefore be affected if its side stroke was changed to a horizontal stroke such as the one for Yong Tze (Figure 1-c) Horizontal Stroke (Le Methodology 勒法 ) Le( 勒 ) means balance. The Sha ( 下 ) Tze in Hongjiao Tripitaka (Figure 3-a) has straight Le strokes while most Le strokes for Sha ( 下 ) Tze in Jiaxing Tripitaka (Figure 3) illustrated, as shown from Sutras table of contents (Table 2), features of unified brush-pen starting points and some of them come with both square and round features. Strokes that apparently lean upwards to the right with 5 0 degrees and become slightly thicker at the point when brush-pen is retrieved are illustrated in Figure 3-d and 3-e. As for Le strokes on the remaining Sha ( 下 ) Tze, 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 ). Figure 1. Side stroke (dot) for Yong Tze in Jiaxing Tripitaka and Hongjiao Tripitaka Figure 2. Side stroke (dot) for Yong Tze in Jiaxing Tripitaka and Hongjiao Tripitaka 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 effect shall also be considered. Changing of Zi ( 之 ) Tze s Table 2. Tables of Contents for Jiaxing Tripitaka and Hongjiao Tripitaka Name of Scripture Dynasty Year (a) Ratnakuta Sutra Meiji, Japan (14 th to 18 th year) 1881~1885 (b) Mahayana Mahaparinirvana Sutra China (4 th year) 1624 (c) ta-pei Sutra China (4 th year) 1624 (d) Sutra of Carrying the Coffin to the Grave After China (7 th year) the Death of the Buddha 1627 (e) Fo Shuo Wu Yai Ji Zong Chi Fa Men Jin China (7 th year) 1627 (f) (g) (h) Avalokiteśvara-bodhisattv a-mahatma -prāta-bodhisattva-vyākar ana-sūtra Wu Bai Di Zi Tze Shuo Ben Chi Jin Commentary on Great Holy Dhāraṇī China (7 th year) China (7 年 ) China (7 th year) Figure 3. Le (horizontal stroke) for Sha ( 下 ) Tze on Jiaxing Tripitaka and Hongjiao Tripitaka 44 B U L L E T I N O F JSSD Vol. 63 No THE SCIENCE OF DESIGN

5 6.2.3 Vertical Stroke Nu( 努 ) Nu( 努 ) means vertical strokes. Vertical Strokes for Jong( 中 ) Tze on Hongjiao Tripitaka (Figure 4-a) illustrate, as shown on Sutras table of contents (Table 3), straight and thick strokes without narrow middle section and are relatively round at the end of strokes. As for vertical strokes for Jong( 中 ) Tze on Jiaxing Tripitaka, strokes in 7 scriptures are all thick and solid and are obviously thicker at the point where brush-pen started. But they are tilted upwards in an arch shape at the point where the brush-pen was retrieved. These features are especially obvious in Figure from 4-f to 4-h. Vertical strokes in Jiaxing Tripitaka and Hongjiao Tripitaka both come with the feature of distinctive edges sticking out towards the right. Figure 4. Nu( 努 ) (Vertical Stroke) for Jong( 中 ) Tze on Jiaxing Tripitaka and Hongjiao Tripitaka Tripitaka illustrated distinctive hook at the end of stroke but the hook is shorter in length compared with the ones on Hongjiao Tripitaka. As for angles of the hooks, they re mostly about On the contrary, hook strokes in Figure 5-g and 5-h illustrate special feature of dropping about 5 0. Most of them come with the feature of having an edge sticking out towards the right at the point where brush-pen started. However, stroke illustrated in Figure 5-e is very special because it is a straight vertical stroke. However, strokes at the point of pause on Hongjiao Tripitaka are relatively sharper. Table 4. Tables of Contents for Jiaxing Tripitaka and Hongjiao Tripitaka Name of Scripture Dynasty Year (a) Ratnakuta Sutra Meiji, Japan (14 th to 18 th year) 1881~1885 (b) Akșayamati Sutra Shunji, Qing Dynasty, China(14 th year) 1657 (c) Pusa Yingluojing Shunji Period, Qing Dynasty, China (d) Lankavatara-Sutra Shunji, Qing Dynasty, China (2 nd year) 1645 (e) Jiao Sheng Fa Su Kansi, Qing Dynasty, China (2 nd year) 1662 (f) Ox-Herding Verses Chienlon, Qing Dynasty, China (49 th year) 1784 (g) Six Syllable Incantation Shunji, Qing Dynasty, China (13 th year) 1656 (h) Fa Hua Wen Ju Ji Kansi, Qing Dynasty, China (4 th year) 1665 Table 3. Tables of Contents for Jiaxing Tripitaka and Hongjiao Tripitaka Name of Scripture Dynasty Year (a) Ratnakuta Sutra Meiji, Japan (14 th to 18 th year) 1881~1885 (b) Fo Shuo Pu Men Pin Jin Chonjen, Ming Dynasty, China (3 rd year) 1630 (c) Sutra on The Lion's Roar of Chonjen, Ming Dynasty, Queen Srimala China (1 st year) 1628 (d) Chi Ren Pu Sa Suo Wen Jin Chonjen, Ming Dynasty, China (10 th year) 1637 (e) Chonjen, Ming Dynasty, amba saja niganta China (1 st year) to(2 nd biwanggirit be alire nomun year) 1628~1629 (f) Fo Shuo Da Kongqiao Chonjen, Ming Dynasty, Wang Za Shen Zhou Jing China (5 th year) 1632 (g) (h) Tsun Shen Pu Sa Suo Wen Yi Qie Zhu Fa Ren Wu Liang Fa Men Tuo Lo Ni Jin Chi Fo Suo Shuo Shen Zhou Jin Chonjen, Ming Dynasty, China (2 nd year) Chonjen, Ming Dynasty, China (15 th year) Hook( 鈎 ) Leap Methodology( 趯法 ) Hook in Yong Tze Eight-Stroke Methodology is called Leap( 趯 ). Vertical hook for Sui ( 水 ) Tze on Hongjiao Tripitaka (Figure 5-a) illustrates, as shown on Sutras table of contents (Table 4), obvious half-arch mountain shape at the point where brush-pen started. Angle of the hook at the end of stroke is about 90 0 and there is an obvious feature of long and thin at the end of stroke. Vertical hooks in Jiaxing Figure 5. Vertical hook for Sui ( 水 ) Tze on Jiaxing Tripitaka and Hongjiao Tripitaka Lift-Up Ce ( 策 ) Ce ( 策 ) means face-up horizontal strokes. As shown by the Table of Contents of Sutras (as Table 2 above), Ce stroke for Yi ( 以 ) Tze on Jiaxing Tripitaka (Figure 6) has a tilting angle of about 45 0 ~55 0, which is slightly different from 35 0 of angle and slightly longer with some of them even connecting with dot strokes, when compared with Hongjiao Tripitaka typefaces (Figure 6-a). Ce strokes for Hongjiao Tripitaka have relatively thicker and curve starting points while the ones for Jiaxing Tripitaka have flat and straight starting points. Starting points illustrated in Figure 6-c and 6-f are thickened with 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

6 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 Figure 6. Ce stroke for Yi ( 以 ) Tze on Jiaxing Tripitaka and Hongjiao Tripitaka Long Sliding Stroke( 長撇 ) (Skim Methodology 掠法 ) Long sliding stroke methodology in Yong Tze Eight-Stroke Methodology is called Skim. As shown by the Table of Contents of Sutras (as Table 3 above), skim stroke for Tien ( 天 ) Tze in Jiaxing Tripitaka (Figure 7) has a tilting angle of roughly 50 0 ~55 0 with thickness similar to the one on Hongjiao Tripitaka (Figure 7-a) but more obvious curve than the one on Jiaxing Tripitaka. Skim stroke for Tien ( 天 ) Tze on Hongjiao Tripitaka has a flat and even starting point. It is very obvious that straight vertical stroke was written first and then the stroke changed to an arc shape. However, skim strokes for Tien ( 天 ) Tze on Jiaxing Tripitaka all have a portion sticking out at the beginning point with obvious sliced-thinness at the end of stroke. Figure 8. Peck (shorting sliding stroke) for Yong 永 Tze on Jiaxing Tripitaka and Hongjiao Tripitaka Nai Stroke( 捺 ) (Shuo Methodology 磔法 ) This is called Shuo in Yong Tze Eight-Stroke Methodology ( 永字八法 ). Starting point for Yong ( 永 ) Tze Long Nai stroke on Hongjiao Tripitaka (Figure 9-a) connects with the both Le and Nu strokes. Radian of the stroke is also more obvious with an angle of about 60 0 against a horizontal surface while the angle between peck stroke and long nai stroke is about As shown by the Table of Contents of Sutras (as Table 1 above), length for Long Nai stroke on Jiaxing Tripitaka is shorter than the one on Hongjiao Tripitaka. Some Nai strokes connect with Nu strokes with an angle of about 45 0 against a horizontal surface. A more special example illustrated in Figure 9-g has an angle of about 20 0 with thicker and shorter Nai stroke. Figure 7. Skim(long sliding stroke) for Tien ( 天 ) Tze on Jiaxing Tripitaka and Hongjiao Tripitaka Short Sliding Stroke( 短撇 ) (Peck Methodology 啄法 ) Short sliding stroke methodology is called peck because its writing posture resembles a bird pecking at food. As shown by the Table of Contents of Sutras (as Table 4 above), retrieving point for Yong ( 永 ) Tze peck stroke on Jiaxing Tripitaka (Figure 8) connects with the last stroke. Tilting angle for the stroke is about 40 0 ~45 0. However, stroke illustrated in Figure 8-e has a higher angle of about While the retrieving point angle for Yong ( 永 ) Tze peck stroke on Hongjiao Tripitaka (Figure 8-a) is of Figure 9. Long Nai stroke for Yong( 永 ) Tze on Tze on Jiaxing Tripitaka and Hongjiao Tripitaka 6.3 Typeface Formation Cross Comparison Among Jiaxing Tripitaka and Hongjiao Tripitaka A cross comparison among Ming Dynasty and Qing Dynasty engraved typefaces on Jiaxing Tripitaka, lead typefaces on Hongjiao Tripitaka and DFMingMedium-B5 typefaces used in computers nowadays has been conducted using typeface overlapping method. Stroke comparison and analysis has been 46 B U L L E T I N O F JSSD Vol. 63 No THE SCIENCE OF DESIGN

7 conducted on words of Zhi( 之 ). As far as Zhi( 之 ) Tze is concerned, there is a high proportion of overlapping among typefaces on Jiaxing Tripitaka, while typefaces on Hongjiao Tripitaka have the biggest overall stroke structure and, with the exception of difference on respective stroke proportion, they generally have stroke features similar to the ones on Jiaxing Tripitaka. For instance, straight vertical dots used on Jiaxing Tripitaka and Hongjiao Tripitaka are 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 Tripitaka lead typefaces. On the other hand, DFMingMedium-B5 typefaces used in computers nowadays only have slightly tilted angles. Lastly, we compare them based on Nai strokes. Nai strokes on these four typefaces are all flat Nai strokes with brush-pen sliding down directly after pause point. Furthermore, Nai stroke angles for engraved typefaces on Jiaxing Tripitaka from Kansi period of Qing Dynasty are larger than the ones for Hongjiao Tripitaka lead typefaces (Figure 10). Figure 10. Comparison of Zhi( 之 ) Tze typefaces on Jiaxing Tripitaka, Hongjiao Tripitaka and DFMingMedium-B5 typefaces used in computers nowadays 6.4 Exploration of Jiaxing Tripitaka and Hongjiao Tripitaka Typeface Characteristics (1) Special Cases for Existence of Dot (Side Methodology) Based on analysis of side strokes on Jiaxing Tripitaka, we learn that cursive dot shape stroke was changed to straight vertical or horizontal stroke in Ming Dynasty of China. We will use Yong( 永 ) Tze formation to explain this. In Jiaxing Tripitaka, there are cases that dot strokes were changed to horizontal strokes (Figure 11 (a)and (e)). There were long as well as short strokes for horizontal strokes in both typefaces. However, for Yong( 永 ) Tze in the same period (Figure 11(b)), there still were cases of strokes engraved in dot shape. Dot stroke for Yong( 永 ) Tze illustrated in Figure 11(c) was even changed vertical stroke. Dot stroke for Yong( 永 ) Tze (Figure 11(d)) still used round dot stroke style until Chonjen period of Ming Dynasty. Out of 401 Sutra ancient scriptures in Jiaxing Tripitaka, we ve found that dot stroke for Yong( 永 ) Tze illustrated dot shape in only 2 scriptures, straight vertical shape in only 3 scriptures, while horizontal stroke in the remaining scriptures. This explains that cases of dot stroke being changed to horizontal stroke clearly existed in Jiaxing Tripitaka. (d) (e) Figure 11. Yong( 永 ) Tze (a)-(e) on Ratnakuta Sutra edition(a), Wangli 21st -24th year, Ming Dynasty ( ), Chronicle of the Buddhas and the Patriarchs edition(b), Wangli 42nd year (1614), Fo-Shuo-Chu-Gai-Zhang-Pu-Sa-Suo-Wen-Jin edition(c), Wangli 36th year, Ming Dynasty (1608), Sutra on The Lion's Roar of Queen Srimala edition(d), 1st year, Chonjen, Ming Dynasty (1628), Pi Ya Po Wen Jin edition(e), end of Ming Dynasty. For further comparison, we analyze Yong( 永 ) Tze 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, Zhi ( 之 ) Tze on Collections of Mr. Chang Li ( 昌黎先生集 ) (Figure 13(a)) was presented in dot stroke style. We ve found from all these examples above that changing dot stroke to horizontal stroke or straight vertical stroke was a common practice in Ming Dynasty of China. As for Yong( 永 ) Tze on Hongjiao Tripitaka (Figure 13(c)), its dot stroke is also of water drop round shape style. Hongjiao Tripitaka was printed from Meiji 14 th to 18 th year of Japan ( ), which is equivalent to the period of Guangxu 7 th year to 11 th year in China. Hongjiao Tripitaka was printed after Jiaxing Tripitaka, which was engraved during the period from Wangli period of Ming Dynasty to Yonzheng period of Qing Dynasty. Engraved editions of Jiaxing Tripitaka dated closest to time period of Hongjiao Tripitaka lead typefaces are Ox-Herding Verses (Figure 13(b)) of Chienlon 49 th year, Qing Dynasty (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

8 while Yong( 永 ) Tze on Hongjiao Tripitaka (Figure 13(c))has round dot shape stroke. Zhi ( 之 ) Tze on Hongjiao Tripitaka (Figure 13(c)), however, comes with straight vertical style for side stroke. This illustrates that application for side stroke on the same scripture has two ways of presentation. Jiaxing Tripitaka also collected Ratnakuta Sutra. However, dot stroke for this scripture was presented in horizontal stroke (Figure 11(a)) which differs a lot from Yong( 永 ) Tze dot stroke on Ratnakuta Sutra collected in Hongjiao Tripitaka (Figure 13(c)). With respect to ancient Sutra of The Flower Ornament Sutra (Figure 14(a)) dated close to the engraving time of Hongjiao Tripitaka, Yong( 永 ) Tze 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 feature is same as the one on Hongjiao Tripitaka. Through further tracing backwards, we ve found that Yen, Jen Chin s ( 顏真卿 ) Yen Chin Li Bai ( 顏勤禮碑 ) (Figure 14(b)) from Tang Dynasty have dot strokes written in round dots, and dot strokes for their Zhi ( 之 ) Tze also 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 formation styles and dot strokes are formed following Yong Tze Eight-Stroke Methodology. (d) (e) Figure 12. Yong( 永 ) Tze (a)-(c) and Zhi ( 之 ) Tze (d)-(e) on Zhou Yi Shuo Zhi Cun edition (a), Wangli 19 th year, Ming Dynasty (1591), Six Classic edition (b), Wangli 43 rd year, Ming Dynasty (1615), Mao Poem Interpretation edition (c), Wangli 17 th year, Ming Dynasty (1589), San Guo Ji edition (d), Wangli 24 th year, Ming Dynasty (1596), Qi Min Yao Shu edition (e), Wangli period, Ming Dynasty. Figure 13. Yong( 永 ) Tze (b) (c) and Zhi ( 之 ) Tze (a) (c) on Collections of Mr. Chang Li edition (a), Wangli period, Ming Dynasty, Ox-Herding Verses edition (b), Chienlon 49 th year, Qing Dynasty (1784), Tze on Ratnakuta Sutra edition (c), Meiji 14 th to 18 th year, Japan. We learn from even more research samples that most dot stroke characteristics in North Song Dynasty for Zhi ( 之 ) Tze were all round dots and were separated from horizontal strokes (Figure15(a)~(b)). Figure 15(c) illustrated a different example whose dot stroke for Zhi ( 之 ) Tze was presented in water drop formation. While dot stroke for Zhi ( 之 ) Tze illustrated in Figure 16(a) proved that characteristic of dot stroke being changed to straight vertical stroke also appeared on ancient scriptures in Song Dynasty. However, dot stroke for Yong ( 永 ) Tze on Figure 16(a) was presented in water drop formation. Therefore, as far as dot stroke application is concerned, there are two dot presentations from different typefaces on the same scripture. Furthermore, dot stroke for Yong( 永 ) Tze in Figure 15(b) illustrate obvious water drop shape. A more special case is that a dot stroke was changed to a horizontal stroke typeface formation (Figure 15(c)). This is also an example that there are two dot stroke formations on the same scripture with respect to dot stroke application. Figure 14. Yong( 永 ) Tze (a) (b) and Zhi ( 之 ) Tze (a)-(c) on The Flower Ornament Sutra edition (a) dated Guangxu 15 th to 22 nd year of Qing Dynasty ( ), Yen Chin Li Bai (b), from Yen, Jen Chin s cursive typefaces dated Dali 14 th year (779 AD), Diamond Sutra (c), from Liu, Gong Quan s cursive typefaces dated Zhangchin 4 th year (824 AD). Figure 15. Yong( 永 ) Tze (b) (c) and Zhi ( 之 ) Tze (a)-(c) on Zheng Fa Nian Chu Jin Tripitaka edition (a) dated Shaoshen 4 th year of North Song Dynasty (1097 AD), Lo Mo Jia Jin Tripitaka periodical edition (b), dated end of North Song Dynasty, Samyukt-agama Sutt Tripitaka edition (c) dated Shaoshen 3 rd year of North Song Dynasty (1096AD). Figure 16. Yong( 永 ) Tze (a) and Zhi ( 之 ) Tze (a)-(c) on Gu Zun Su Yu reprinted edition (a) dated Xianchun 3 rd year (1267AD), Prajnaparamita-Sutra Tripitaka 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 Dynasty. Shape of the dot stroke comes with slight triangle feature. These dot strokes connect with horizontal strokes and their hooks are relatively sharper (Figure 16(b) and (c)). In Jin Dynasty, dot strokes are all round shape strokes (Figure 17(a) and (b)). However, there are still cases that dot strokes were changed to straight vertical strokes (Figure 17(c)). As for Yong ( 永 ) Tze, it has a water-drop shape of 8 48 B U L L E T I N O F JSSD Vol. 63 No THE SCIENCE OF DESIGN

9 dot stroke (Figure 17(a)). However, dot stroke in Figure 17(c) was changed to straight vertical stroke which is same as the one for Zhi ( 之 ) Tze. Also in the case of Yong ( 永 ) Tze, its dot stroke connects with vertical hook stroke. Figure 17. Yong( 永 ) Tze (a) (c)and Zhi ( 之 ) Tze (a)-(c) on The Wonderful Dharma Lotus Flower Sutra (a) Su Shi hand-writing scripture reprinted in Yuan Dynasty, Vajra Prajna Paramita Sutra Chu Mo engraved edition (b) dated Jizheng 1 st year of Yuan Dynasty (1335 AD), Mahāyāna Sūtra of Consciousness Revealed Tripitaka edition (c) printed during Jiyuan period of Yuan Dynasty. As for Yong( 永 ) Tze on DFMingMedium-B5 typeface(figure 18(a)) which is used in computer nowadays and Yong( 永 ) Tze on standard Song typeface (Figure 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 style.as for Zhi ( 之 ) Tze, dot stroke on standard Song typeface from the Ministry of Education of Taiwan is still presented in slightly long water drop shape (Figure 18(b)). However, dot stroke for Zhi ( 之 ) Tze on DFMingMedium-B5 typeface, which is used in computer nowadays, is changed to long vertical stroke (Figure 18(a)). From analysis over cases of modern typefaces above we find that Han Tze typeface dot stroke does not present consistent standard forms in today s printing typeface design. (a) (b) Figure 18. Yong( 永 ) Tze and Zhi ( 之 ) Tze (a)-(b) on DFMingMedium-B5 typeface (a) which is used in computer nowadays, standard Song typeface (b) from the Ministry of Education of Taiwan. ( 2 ) Features of Thin Horizontal Stroke and Thick Vertical Stroke on Jiaxing Tripitaka and Hongjiao Tripitaka Although a few of Jiaxing Tripitaka typeface stroke formations still inherited cursive typeface style, most of them come with thin horizontal stroke and thick vertical stroke feature and there is a fixed thickness/thinness proportion between horizontal and vertical strokes. Thickness for horizontal stroke ranges from one-third to one-fifth of vertical stroke thickness. Take Shi ( 十 ) Tze for example, strokes for the first Sutra of Jiaxing Tripitaka (Figure 19(a)), the Sutra of Hongjiao Tripitaka (Figure 19(b)), and DFMingMedium-B5 typefaces (Figure 19(c)) which are used in computer nowadays all come with 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 computer nowadays, typeface structures as well as specific typeface outlines. As a result of this, the whole typeface structure had become even more specific by the time when typeface evolution reached Hongjiao Tripitaka lead engraved Tripitaka. However, their horizontal and vertical strokes are slightly thicker than the ones on DFMingMedium-B5 typefaces which are used in computer nowadays. Generally, these strokes already come with modern printing typeface appearances. Figure 19. Shi ( 十 ) Tze (a) -(c) on Prajnaparamita-Sutra (a), Ratnakuta Sutra (b), DFMingMedium-B5 typeface which is used in computer nowadays. 7. Conclusion With respect to typeface formation comparison, Jiaxing Tripitaka side strokes changed cursive dot strokes to horizontal or vertical strokes. This is probably for the purpose of ensuring engraver s speedy typeface engraving under huge demand from scripture printing. 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 Wangli period of Ming Dynasty, especially those in Song Dynasty and Ming Dynasty, we have found cases of modified engraved typefaces. However, both of them are not very mature as far as typeface unity and completeness are concerned. Nevertheless, prior to the invention of printing, there were already cases in Clerical Script which changed dot stroke to horizontal line or straight vertical stroke. This is a proof that such practice was not an unique invention by Jiaxing Tripitaka. We can only say that dot engraved typefaces from some Sutras of Jiaxing Tripitaka inherited presentation styles from previous dynasties and then added some modifications. This has influences over subsequent Hongjiao Tripitaka, whose side stroke still 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

10 vertical strokes. Even now, there are still no unified typeface stroke standards for DFMingMedium-B5 typefaces, which are used in computer nowadays, or standard Song typeface published by the Ministry of Education of Taiwan. Therefore, as far as presentation on various typefaces is concerned, Ming typefaces nowadays are still lacking rules for consistency. Take side stroke for example. Some typefaces still maintain Regular Script dot strokes while some others are presented in horizontal stroke or straight vertical stroke. Overall, stroke thickness is also one of the differences. Sutras typefaces in Jiaxing Tripitaka have the thickest strokes while DFMingMedium-B5 typefaces, which are used in computer nowadays, have the thinnest strokes. Jiaxing Tripitaka and Hongjiao Tripitaka Typefaces both come with obvious features of thin horizontal strokes and thickened straight vertical strokes. Meanwhile, proportion of horizontal strokes against vertical strokes for Hongjiao Tripitaka Typefaces is roughly 1:4, and they also have the biggest decorative corners. Such changes are probably for the purpose of ensuring more stable typeface structure. This feature is similar to the one on DFMingMedium-B5 typefaces which are used in computer nowadays. In addition, most engraved typefaces in Jiaxing Tripitaka obviously still maintain cursive typeface circular arc style for Leap (hook) strokes. Hongjiao Tripitaka was made using copper casting and outlines for its Leap (hook) strokes are more clear-cut without relics of cursive typefaces. Rather, Leap (hook) strokes are connected with straight tilted line which comes with the prototype of modern day Ming Typefaces. As space between typefaces, typeface space for Hongjiao Tripitaka is more consistent. Horizontal lines are flat and straight, and typefaces as a whole present a relatively square style. On the other hand, some horizontal strokes in Jiaxing Tripitaka are tilted because of engraver s different engraving angles. These features illustrate that Jiaxing Tripitaka typefaces do have characteristics of typeface which is called Ming Typeface nowadays. On the other hand, Hongjiao Tripitaka proves Ming Typeface s influence over Japanese printing typefaces. It also has influence over DFMingMedium-B5 typefaces which are used in computer nowadays by allowing more wide-spread utilization of Ming Typeface s unique features of thin horizontal strokes and thick vertical strokes. In modern visual design education field, there is related application training on Chinese Han Tze typeface formation. However, it seems that there are hardly related messages on Han Tze s presentation in ancient Sutras as well as if there are factors influencing modern Han Tze typeface formation. this research shows the standard and the variety of the subject typefaces. Therefore, in designing a typeface, it is essential to have abundant variation as well as a strict standard. It is hoped that, through systematic argumentation and organization, this research will be able to assist in-depth understanding of typeface design s relationship on historical culture and social background evolution, and allow a more holistic presentation on the evolution of Chinese Han Tze for the purpose of providing a aesthetics and cultural argumentation background basis for Han Tze related script editing design application, teaching and research. References 1) 刘淑芬, 中古的佛教与社会, 上海古籍出版社, ) Chi-Shoung Tzeng, Chang-Ching Lin, Kae-Shiun Yang. A Research on the Historical Development of Typeface. Journal of Science and Technology. National Yunlin University of Science and Technology 2001;10(3): ) Chi-Shoung Tzeng, I-Tzu Hung. The Characteristic Comparison between Yan and Liu s Written Words and Ming Font. ICOGRADA International Design Education Seminar Research Paper Collection 2002;10: ) I-Tzu Hung. The Characteristics of Printing Words and Editing Style during Wan-Li Era of Ming Dynasty. Graduate School of Visual Communication Design, National Yunlin University of Science and Technology, ) 國家圖書館特藏組編, 國家圖書館善本書志初稿, 國家圖書館, 1, ) 藍吉富, 嘉興大藏經的特色及其史料價值, 佛教的思想與文化 - 印順導師八秩晉六壽慶論文集, 法光出版社, , ) 章宏传, 故宫问学, 紫禁城出版社, 1, ) 吴德新, 佛家简史, 华龄出版社, , ) 藍吉富, 中國佛教泛論, 新文豐出版社, , ) 曹之, 中國古籍版本學, 洪葉文化, ) 杜继文, 佛教史, Jiangsu People s Publishing House. 333, ) 章宏传, 出版文化史论, 华文出版社, ) 罗树宝, 中国古代图书印刷史, 岳麓书社, ) Xhi Shen Yen. History of Japan Buddhism. Modern Buddhism Academic Periodical 1980; 82: B U L L E T I N O F JSSD Vol. 63 No THE SCIENCE OF DESIGN