Selected Ancient Chinese Stele and Inscriptions: Wei Stele Tomb Inscriptions

Author: Jie Ji
Publisher:
Publishing Date: 1997-12-01
Features: In the history of Chinese calligraphy, the Wei Stele style holds an important position. The Wei Stele refers to the inscriptions carved on stone during the Northern Dynasties period of China (including Northern Wei, Eastern Wei, Northern Qi, and Northern Zhou). The calligraphic level is highest in the Northern Wei period. The characteristics of Wei Stele calligraphy include an emphasis on natural spontaneity, leaning and tilting forms, uneven spacing, dramatic brushwork, swift starts and abrupt stops, bold and unrestrained, and profound charm. Especially in regular script, the styles are diverse—some are rustic and robust, retaining the essence of clerical script; some are round on the inside and square on the outside, bold and perilous; some are smooth and flowing, pioneering the style of Tang and Song regular script. They are varied and brilliant as stars. Wei Stele calligraphy is a treasure of Chinese calligraphy, but it was almost forgotten in the thousands of years following the Northern and Southern Dynasties period. The main reason was that Emperor Taizong of Tang highly praised Wang Xizhi, and scholars, including those influenced by Northern Dynasties calligraphy, dared not mention Wei Stele calligraphy. Additionally, the prevailing cultural trend favored the Southern Dynasties as the orthodox Han culture, viewing the multiculturalism of the Northern Dynasties as heretical, which led to theishment of Wei Stele calligraphy. This trend continued into the Qing Dynasty. After the mid-Qing period, calligraphic styles changed, and revering steles over tablets became fashionable. The key figures who revitalized the study of steles included Ruan Yuan, author of "North Steles and South Tablets," Bao Shichen, author of "Dual Paddle of Art," the stele calligraphy master Deng Shiru, the great calligrapher Zhang Yuzhao and Zhao Ziqian, and the reformist leader Kang Youwei. Among them, Kang Youwei had the most significant impact. Kang Youwei praised Wei Stele calligraphy for its ten excellences: 1) Strong spirit, 2) Mysterious atmosphere, 3) Dynamic brushwork, 4) Steep and thick strokes, 5) Elegant will, 6) Flying spirit, 7) Satisfying interest, 8) Penetrating bone structure, 9) Natural composition, and 10) Rich texture. As a result, the value of Wei Stele calligraphy skyrocketed, leading to the saying, "A single stele from Hebei is worth more than all the rubbings in Jiangnan." The revival of stele study in the Qing Dynasty has profoundly influenced the development of calligraphy to this day. There are many rubbings of Wei Steles, and the editor made every effort to select the best ones, using some in full and others in part. To facilitate practice, damaged spots on the rubbings were edited during printing, and some missing characters were supplemented with other sources. From the perspective of stele forms, Wei Stele calligraphy is divided into four major categories: statues and inscriptions, epitaphs, steles, and cliff carvings. This book focuses on epitaphs. Both epitaphs and tombstones are inscriptions recording the names, origins, and achievements of the deceased, differing in that the former are buried underground while the latter are placed outside the tomb. Because epitaphs are buried underground, they are often well-preserved when unearthed, with clear inscriptions, making them excellent materials for studying calligraphy. This book selects five outstanding epitaphs: "Epitaph of Zhang Hei'nu," "Epitaph of Yuan Huai," "Epitaph of Diao Zun," "Epitaph of Sima Xianzi," and "Epitaph of Yuan Zan." Among them, the "Epitaph of Zhang Hei'nu" is particularly highly regarded. Bao Shichen wrote in his preface to the "Epitaph of Zhang Hei'nu": "This stele is swift and sharp like the 'Stele of Jun Xiu Luo,' round and turning like the 'Stele of Zhu Junshan,' sparse and bright like the 'Stele of Zhang Menglong,' and tranquil like the 'Stele of Jing Xian Jun.'" He Shaoji also wrote in his preface: "It transforms seal script and clerical script, making every stroke divine and every beauty perfect. Yet it remains thick and ancient, unmatched by the 'Hei'nu' stele." Kang Youwei also highly praised this stele in "Broad Paddle of Dual Arts," calling it "like a galloping horse leaping over a stream, neighing with fierce pride." Below are the descriptions of the selected steles:
"Epitaph of Zhang Hei'nu," full title "Epitaph of the Late Nanьян Governor Zhang Xuan of Wei." Zhang Xuan, styled Hei'nu, had his epitaph renamed "Epitaph of Zhang Hei'nu" during the Qing Dynasty to avoid the taboo of Emperor Kangxi's name. Carved in October of the first year of the Putai era (531 AD) of the Northern Wei Dynasty. Regular script, 20 lines per column, 20 characters per line. The original stone is long lost. Only one Ming Dynasty rubbing, mounted separately, remains in existence. In the late Ming and early Qing, the rubbing was owned by Cheng Bo. In 1825 (Daoguang 5), it was acquired by He Shaoji, and during the Republic of China, it was once owned by Qin Wenjin of Wuxi. Currently held by the Shanghai Museum.
"Epitaph of Yuan Huai," carved in August of the second year of the Xiping era (517 AD) of the Northern Wei Dynasty. Regular script, 16 lines per column, 20 characters per line. Discovered in 1925 in Zhang Yang Village, Luoyang, Henan. Now belongs to the Henan Library.
"Epitaph of Diao Zun," full title "Epitaph of Luo Prefect Diao Hui Gong." Carved in October of the second year of the Xiping era (517 AD) of the Northern Wei Dynasty. Regular script, 28 lines per column, 32 characters per line. The lower right corner of the stone is damaged, missing about 156 characters, with 20 additional blurred characters in the middle. The back of the stele has two columns: one with 14 lines and the other with 19 lines. Discovered in the Yongzheng era of the Qing Dynasty in Nanpi, Hebei (or said to be in Guangrao, Shandong).
"Epitaph of Sima Xianzi," full title "Epitaph of the Lady Sima, Consort of the Late Emperor Shizong of Wei." Carved in February of the second year of the Zhengguang era (521 AD) of the Northern Wei Dynasty. Regular script, 21 lines per column, 22 characters per line. Discovered in 1927 in the southwest of Anjiaogou, north of Luoyang, Henan. Once owned by Yu Youren.
"Epitaph of Yuan Zan," full title "Epitaph of Yuan Zan, Military Commissioner of Hengzhou and Northern General of Hengzhou Prefecture." Carved in November of the first year of the Xiaochang era (525 AD) of the Northern Wei Dynasty. Regular script, 20 lines per column, 21 characters per line. Discovered in 1919 in the north of Anjiaogou Village, north of Luoyang, Henan. Once owned by Tao Xiang and Luo Zhenyu.