During the Southern and Northern Dynasties in China, Wang Xizhi, a great calligrapher in the Eastern Jin Dynasty, learned from others and created a delicate and delicate calligraphy style. This new writing style soon spread in the south. In the early years of the Tang Dynasty, due to the advocacy of Emperor Taizong, Wang Xizhi's calligraphy was regarded as an original in the whole country, which had a great influence at that time.
Ou Yangxun was the first calligrapher in the early Tang Dynasty. His words are "vigorous and vigorous, and the statutes are strict", which is called "European style". Ou Yangxun studies books very hard. According to legend, once, he went out to read the inscription of Suo Jing, a calligrapher in the Western Jin Dynasty. At first glance, the impression is not deep; Later, he went to see it again before he realized the beauty. So, he stayed under the stone tablet for three days and carefully observed and studied. In his later years, Ou Yangxun's writing was more energetic. The Huangfu Birthday Monument in Xi 'an stele forest is his work.
Yan Zhenqing in the prosperous Tang Dynasty was called another calligraphy innovator after Wang Xizhi by later generations. He took part in the imperial examination when he was young. In order to study, he resigned twice and went to Luoyang to study with the great calligrapher Zhang Xu. Zhang Xu saw that he was interested in learning books, so he taught him the method of writing books that he refused to tell others easily. Under the guidance of Zhang Xu, he studied hard and formed his own unique style, which is called "Yan Ti". Yan-style regular script is dignified and majestic, and the running script is vigorous and rich. Yan Zhenqing used a pen to hide the front evenly, which was just inside and warm outside, and the words were rounded and powerful. Yan stele in the forest of steles is his work.
After Yan Zhenqing, the influential calligrapher was Liu Gongquan. He was a beginner of Wang Xizhi and later visited a famous calligrapher in the Tang Dynasty. He thinks that Yan Zhenqing and harmony are the best, so he absorbs the advantages of Yan and Europe and becomes a whole. His calligraphy is vigorous and rigorous. The world has the saying "Yan Liu Jin Gu". The mysterious pagoda monument in the forest of steles is his masterpiece.
The calligraphy of the forest of steles is beautiful, and it is a treasure in China's art treasure house. The masterpieces left by the masters of art still shine brilliantly.
Firstly, this paper briefly introduces Xi 'an Stele Forest, indicating that it is "the largest treasure house of calligraphy art in China" and a place where "famous monuments gather together". Then, in the order of historical dynasties, it introduces the deeds and main characteristics of calligraphers such as Wang Xizhi in the Eastern Jin Dynasty, Ou Yangxun in the early Tang Dynasty, Yan Zhenqing in the prosperous Tang Dynasty and Liu Gongquan after Yan Zhenqing. Finally, it summarizes the position of calligraphy in the forest of steles in China's art treasure house. This paper introduces the representative works of Ou Yangxun, Yan Zhenqing and Liu Gongquan, such as Huangfu Birthday Monument, Yanshi Family Temple Monument and Xuanta Monument, but does not mention Wang Xizhi's works, because Wang Xizhi's original works have been lost. In the forest of steles, the Preface of Three Monks in Tang Dynasty was written by Wang Xizhi, a monk from Huairen in Tang Dynasty.
Guide: Xi 'an Stele Forest is located in Sanxue Street of Xi 'an Ancient City (named after Chang 'an School, Fu Xue School and Xianning School in Qing Dynasty). It was established in the second year of the Northern Song Dynasty (A.D. 1078) to preserve the "stone-breaking". For more than 900 years, it has experienced the collection and expansion of income.
Tibetans, carefully protected, nearly 3,000 square meters of stone tablets are buried in Tibet. There are six stele corridors, seven stele rooms and eight stele pavilions, and the 1087 square stele is on display. In the exhibition room with famous monuments, there are a vast number of stone classics of Confucian scholars and philosophers; The simple legacy of Qin and Han literati; Hua Ying in the Epitaphs of Wei, Jin and Northern Dynasties: peerless calligraphy by famous people in Tang Dynasty, natural and unrestrained pen and ink by famous people in Song and Yuan Dynasties. The brushstrokes of Wang Xizhi, the master of calligraphy and painting, and Wu Daozi, the cool breeze of Wang Wei's bamboo shadow, both of which are excellent in poetry and painting, add luster to the forest of steles. Xi 'an Stele Forest has become an important part of China's treasure house of historical relics with its unique characteristics, and was announced as the first batch of key cultural relics protection units in China on 1962.
Xi 'an Forest of Steles is an art treasure house with the earliest collection of ancient inscriptions and the largest number of famous inscriptions in China. It is not only one of the places where ancient Chinese cultural classics are engraved, but also a gathering place of famous calligraphy art treasures in past dynasties, which has great historical and artistic value.
In terms of historical value, many stone inscriptions have precious historical value, some of which can be used to supplement and correct the mistakes recorded in historical books, and some are precious materials for studying the history of cultural exchanges between China and foreign countries and local history. For example, the China Monument of Daqin Nestorianism, which was unearthed in zhouzhi county, Shaanxi Province and moved into the forest of steles in the thirty-third year of Guangxu (A.D. 1907), was 353 cm high and 0/03 cm wide, and was carved in Jianzhong, Tang Dezong for two years. It records the introduction of Nestorianism, a branch of Christianity in the Tang Dynasty, from Central Asia to China in both Chinese and Syrian languages. In addition, the "Trony Classic Mansion of China and Nepal" in the Tang Dynasty is a model of friendly exchanges between the Chinese and Nepalese people in the Tang Dynasty. Don Guang Zhi's Sanzang Tablet records the life experience of an Indian monk in China and the relationship between Tantric Buddhism and Japanese Buddhism. Wait, these are precious materials for studying cultural exchanges and religious history between China and foreign countries.
The words "Dashun" and "Yongchang" are engraved on the "Mingde Ji Shou Monument". This is a relic of the peasant uprising led by Li Zicheng in the Ming Dynasty, which recorded the tragic scenes of drought in Shaanxi at that time, high food prices, "wheat is 224 yuan a barrel, rice is 226 yuan a barrel" and "people eat dogs and eat people"; The Qing Dynasty carved "Hualong Zhang Monument", praising Hualong Zhang, who led the peasants in Fufeng and Qishan areas of Shaanxi Province to rebel against the government at that time; The Song of Famine carved in the Qing Dynasty also recorded the miserable life of some peasants who were oppressed and exploited by bureaucratic landlords. Rebuilding the Temple Monument of Niu Shan Tuzhu Zhonghui King in Yuan Dynasty, the Tombstone in Qing Dynasty, and the tablet of Pingli religious case all recorded the fact that the Red Scarf Army uprising at the end of Yuan Dynasty and the broad masses of working people resisted exploitation and oppression and imperialist foreign aggression at the end of Qing Dynasty from different aspects.
There are many patriotic figures in the forest of steles, such as Confucius, who is known as a great master, Lisi, who unified China characters, Guan Yu, who was loyal to Shu Han, Zheng Banqiao, a clean and honest man, Wen Tianxiang, a national hero who died generously, Lin Zexu, who shocked China and foreign countries by banning smoking in Humen, Wang Xizhi, Yan Zhenqing and Yu Youren, the calligraphers of all ages, Deng Tingzhen, who vigorously promoted the new law, and so on. Their spirit of worrying about the country and the people and perseverance has inspired generations of Chinese sons and daughters.
A large number of stone classics in the forest of steles are important documents in ancient times. Shitai Xiaojing was engraved in the fourth year of Tang Tianbao (AD 745). Li Longji, Emperor Xuanzong of the Tang Dynasty, personally made a preface and annotated it, and wrote it in official script (The Xiaojing is a question and answer of Confucius students, mainly focusing on filial piety and filial piety). This monument consists of four exquisite stones, the color of which is black, and people can tell, and the height is 590 cm. The amount of tablets added. There is a stone on his forehead, and the edge of the stone is carved with beautiful cirrus clouds, and the top is like a mountain; There are three stone steps under the monument, so it is called "stone platform filial piety"; The three-story stone platform is carved with lifelike lines on all sides, with lush creeping weeds and mighty lion-shaped monsters. Two kinds of uncoordinated animals and plants are portrayed harmoniously, and the whole composition gives people a vigorous and lively feeling, which is the artistic essence of the prosperous Tang Dynasty. The Book of Stones was written in regular script by Ai Juhui and Marco at the suggestion of imperial academy Qin Zheng in the fourth year of Tang Wenzong Taihe (AD 830), and it took about seven years to carve the Book of Stones in the second year of Kaicheng (AD 837). Including six volumes of Zhouyi, Shangshu 13, Book of Songs 20, Zhou Li10, Book of Rites 17, Book of Rites 20 and Chunqiu Zuozhuan 30. This classic is the best preserved one among the seven ancient prints in China. Like a large stone library, it played an important role in the preservation and dissemination of culture before the invention of printing in China. Famous monuments such as Shitai Xiaojing and Kaicheng Dajing were originally erected in the imperial academy courtyard of Wubenfang (now outside Xi 'an Annan Gate) in Chang 'an in the Tang Dynasty. After the late Tang Dynasty (Duke Xu Guohan) descended to Chang 'an, these monuments were scattered outside the city together with other famous monuments. Tang Zhaozong and the Houliang Dynasty moved these stone tablets to the western corner of Shangshu Province in the Tang Dynasty. Yuan You During the period of Song Zhezong (A.D. 1086- 1093), all the stone tablets were moved to the north of the institution of higher learning, which is where the forest of steles stands today. In addition, Xing Xue Bei, Embroidered Qu Ji, Embroidered plank road Ji Cheng Ji and Miao Xiu Ji in Ming and Qing Dynasties also have important historical value.
Xi 'an's forest of steles is not only a treasure house of oriental stone history and culture, but also a treasure house of calligraphy art, enjoying the reputation of "hometown of calligraphy art", which makes overseas people yearn for it. The early stone carvings in the forest of steles include the stone carvings of Qin Fengshan in the Song Dynasty. The original tablet was written by Li Si, the prime minister of Qin State. In the second year of Zhong Ping in the Eastern Han Dynasty (A.D. 185), the inscription "Cao Quanbei", with exquisite official script, is a well-preserved inscription with clear font among the Chinese steles, and is a fine work among the Chinese steles. Han Xi Shipingjing is the remnant stone of Zhouyi, which preserves the earliest sentence of Zhouyi in China. According to legend, Cai Yong, a famous scholar and great calligrapher at that time, wrote neatly in official script, which was a model of Han Li.
The Tang Dynasty was the heyday of China's calligraphy art. In the hundred gardens of the Tang Dynasty, there were many famous artists and sometimes excellent works. Truth, grass, official script, seal script and flowers compete for beauty, just like bright stars, radiating eternal glory. Ou Yangxun, Yu Shinan, Chu Suiliang, Yan Zhenqing and Liu Gongquan all wrote regular script, and Ouyang Tong, Shi and Huai Su were also famous writers. Ouyang Tong's Monument to Master Daoyin is very similar to his father Ou Yangxun's Monument to Huangfushengchen, which is a famous calligrapher's monument with rigorous structure and dangerous calligraphy. Yan Zhenqing's Yan Liqin Monument, Yanjia Temple Monument and Multi-tower Induction Monument are magnificent and standard "Yan Ti". The Mysterious Tower of exorcist by Liu Gongquan is the most typical masterpiece of Liu Ti, with exquisite brushwork, neat structure and full charm. The Preface of Tang Sanzang, selected by monk Huairen from the ink left by Wang Xizhi in the Jin Dynasty, is even more famous. Huai Su, a famous cursive writer, wrote thousands of words with bold and unrestrained brushwork, fluent and free and easy, which is treasured by the world. In addition, Song Qi's Grand View Monument (in fine gold) and Song Chunhua's Secret Pavilion Post reprinted in the Qing Dynasty are also rare treasures.
In addition to calligraphy, a large number of exquisite patterns with artistic value were preserved on the inscriptions in the Northern Wei, Tang and Song Dynasties. For example, on both sides of the Tang Dynasty's "Monument to the Great Wisdom Zen Master", the patterns of line engraving and land restoration are decorated with creeping weeds, phoenixes and figures, which make people feel colorful, vivid, wonderful and lively; The cirrus clouds and lions embossed on the headstone of Shitai Xiaojing, and the exquisite creeping weeds and beasts carved on the pedestal also show the unique rich style of sculpture in the Tang Dynasty. In the Tang Dynasty, two groups of figures were carved on both sides of the pedestal of the Taoist master monument, with smooth lines. * * * At that time, there were more than a dozen people dressed in strange clothes, with deep curly hair, leading horses and dogs, ready to travel. This is a rare masterpiece of line carving. The four sides of Yuan Yun's epitaph in the Northern Wei Dynasty are respectively engraved with the images of dragon gods, white tiger, suzaku and Xuanwu, and the gaps are full of flowing water, showing a unique elegant and harmonious artistic conception. Like the green forest, they set off colorful calligraphy art, making the forest of steles, a treasure house of calligraphy art, even more magnificent.
The forest of steles can be completely preserved to this day, which is inseparable from the contribution of Bi Yuan, the governor of Shaanxi Province during the Qianlong period in the Qing Dynasty. In the Song Dynasty, due to nobody's management, some precious Han and Tang steles were used as bricks, and some were used to repair bridges and were destroyed. By the Yuan Dynasty, all the stone tablets in the forest of steles had fallen down twice. In the thirty-fourth year of Jiajing in the Ming Dynasty (AD 1555), an earthquake of magnitude 8 occurred in Shaanxi, and a large number of stone tablets in the forest of steles were broken due to falling and touching. In the thirty-seventh year of Qing Qianlong (A.D. 1772), Bi Yuan led his colleagues to inspect the forest of steles, only to find that the house collapsed and the steles were lying among the rubble in Jingzhen. Looking around, there was desolation everywhere, which made him very shocked and sad. He and his colleagues agreed to rebuild and protect the forest of steles by repairing houses, sorting out stones, cataloguing records, organizing exhibitions of stone carvings, and establishing management institutions and storage systems. He said in the book "The Story of the Stone in Guannei": "Both the front hall and the back hall are innovative, spinning in the soil, and there are dozens of old engravings. Therefore, we choose the Shijing and the capital before the Song and Yuan Dynasties, with rows A and B, columns and shields in the week. In the Ming dynasty, close people kept the best instead of building three rafts to raise them. The key to the lock is in your palm, so please protect it forever. " Bi Yuan has a strong interest in inscriptions, and the restoration of the forest of steles lies in "making it accessible to ordinary archaeologists". (Bi Yuan's Contribution to the Protection of Ancient Sites in Guanzhong, No.2 of Cultural Relics World, 1983) He has made important contributions to the protection of precious cultural relics, which is very commendable.