Chinese Stone Inscriptions Classics -- Yu Shennan Kong Miao Tang Bei

Author: Compiled by the Publishing House
Publisher:
Publish Date: 2000-12-26
Features: Established in the ninth year of the Wude era (AD 626). Composed and inscribed by Yu Shinan. It is said that only dozens of copies were made and given to close officials during the Zhenguan era (AD 627–649), and the stone tablet was soon destroyed. In the third year of the Chang'an era (AD 703) of Wu Zhou, Empress Wu ordered Prince Wang Dan to have it reclayed. It is written in regular script, 35 lines per column, with 64 characters per line. The title is inscribed in seal script with six characters, now also referred to as the "Shan Prefecture Edition" or the "West Temple Hall Stele." The second edition was reclayed in Chengwu, Shandong during the Zhizheng era of the Yuan dynasty (AD 1264–1294), commonly known as the "Chengwu Edition" or the "East Temple Hall Stele." In the Qing dynasty, Li Zonghan of Linchuan obtained an ink rubbing from an old collection by Kang Nannan of the Yuan dynasty, which is known as the "Tang-era rubbing" and is considered the most valuable existing rubbing. This facsimile is based on Li's collection and includes a preface by Wu Fanggang. The rubbing is exceptionally precise in its blackness, displaying the calligraphic style of Yu Shinan in a relatively complete manner. Yu Shinan (AD 558–638), courtesy name Liao Bo Shi, was from Yuyao, Yue Prefecture (now Yuyao County, Zhejiang Province). During the reign of Emperor Taizong of Tang, he served as a scholar at the Hongwen Academy, became the Secretary-in-Chief in the seventh year of the Zhenguan era, was enfeoffed as the Marquis of Yongxing, and granted the title of Silver and Green Light-Dragged Robe. He was also known as "Yu Mi Lin" and "Yu Yongxing." His calligraphy was passed down from Zhi Yong and followed the methods of Wang Xizhi and Wang Xuanxi, making him one of the four great calligraphers of early Tang, alongside Ouyang Xun, Chu Suiliang, and Xue Ji. Yu's calligraphy is elegant, composed, and serene, with a smooth and refined brushwork that contains both firmness and tenderness, and profound intent. It is compared to a white crane soaring in the clouds, with its red crown admired by all. In the "Initial Thoughts on Calligraphy" by Wu Deshou, he compared the calligraphic styles of Ouyang and Yu, stating that Yu's inner strength is more refined. Lu Fengyuan remarked that while Yu contains both firmness and tenderness internally, Ouyang's external appearance is more evident. However, this statement is not entirely accurate. Ouyang also contains both firmness and tenderness, and those who study his calligraphy without proper technique may still reveal their bones. Similarly, those who study Yu without the right technique may also lack flesh. The "Confucius Temple Hall Stele" is a masterpiece of Yu Shinan. The calligraphy on this stele is refined yet dignified, with each character like pearls and jade, embodying Yu's calligraphic style of subtlety and vitality. In terms of brushwork, it is soft yet strong, with a powerful and robust force, as if practicing Tai Chi. It appears effortless, yet every stroke is carefully arranged in perfect order, creating a stunning overall effect that is truly admirable. This exemplifies how calligraphers focus on the spiritual essence of their work. Studying this stele is an excellent way to inherit the methods of Wang Xizhi and Wang Xuanxi. In the "Dun Yin Book of Calligraphy" by Feng Ban of the Qing dynasty, it is said: "Yu Shinan's 'Temple Hall Stele' is entirely based on the methods of Wang Xizhi—it can be a model for learning." In the "Art General" by Liu Xizai of the Qing dynasty, it is noted: "When learning to write Yu Shinan's calligraphy, one must recognize its bones over its flesh. The spirit of those who praise the 'Temple Hall Stele' lies in this principle!" This advice should be considered by all calligraphy learners.