Yushi Nan Confucius Temple Hall Stele

Author: None
Publisher:
Publish Date: 2000-12-01
Features: Established in the ninth year of the Wude era (AD 626). Composed and inscribed by Yu Shinan. It is said that only a few dozen copies were printed during the Zhenguan era (AD 627–649) and bestowed upon close officials, but the stone 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 re-carved. In regular script, 35 lines, with 64 characters per line. The title is inscribed in seal script with six characters, now also referred to as the "Shaanxi edition" or the "West Temple Hall Stele." The second version was re-carved in Shandong, Chengwu, during the Zhiheng 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 acquired an old ink rubbing from Yuan's Kang Nan, which is known as the Tang-era printing and is the most preserved version. This photolithographic edition is based on Li's collection, with postscripts by Wang Fanggang. The rubbing is extremely fine and dark, and it fully displays the style of Yu Shinan's calligraphy.
Yu Shinan (AD 558–638), styled Liao Boshi, was from Yuyao, Yu Province (now Zhejiang Province). During the reign of Emperor Taizong of Tang, he served as a scholar at the Hongwen Academy and was appointed as the Librarian in the seventh year of the Zhenguan era, enfeoffed as the Marquis of Yongxing, and granted the title of Silver and Green Light Doctor. He was also known as "Yu Mi Lin" and "Yu Yongxing." His calligraphy was passed down from Zhi Yong and followed the methods of the Two Wangs (Wang Xizhi and Wang Xianzhi), making him one of the "Four Great Calligraphers of Early Tang" alongside Ou Yangxun, Chu Suiliang, and Xue Ji. Yu's calligraphy is dignified, serene, and elegant, with a brushwork that is "round and smooth without sharp edges" and "containing both firmness and gentleness, with profound and refined intent," resembling "a white crane soaring through clouds, with people admiring its crimson crown."
In the "Initial Moon Pavilion Notes on Calligraphy," Wu Deshuan compared the styles of Ou and Yu, determining that Yu's was superior. Lu Fengquan remarked that Yu's calligraphy contained both firmness and gentleness, while Ou's revealed its bones outward—, implying that Yu was better. This is not entirely accurate. Ou's calligraphy also contained both firmness and gentleness. If one learns Ou's style without mastering the brush, they may end up with overly exposed bones; similarly, if one learns Yu's style without mastering the brush, they may end up with excessive flesh.
"The Stele of the Confucius Temple Hall" is a masterpiece of Yu Shinan. The calligraphy on the stele is restrained yet majestic, with each character appearing as a pearl and jade, embodying the subtle and vivid qualities of Yu's style. In terms of brushwork, it is outwardly gentle yet inwardly strong, with powerful and profound force, as if practicing Tai Chi. It seems effortless, yet every movement is meticulously arranged, creating a perfect overall effect that is truly admirable. This reflects the calligrapher's focus on spiritual content. Studying this stele is an excellent way to inherit the methods of the Two Wangs. In the "Dun Yin Book of Calligraphy," Feng Ban of the Qing dynasty wrote: "Yu Shinan's 'Temple Hall Stele' is entirely in the style of the Two Wangs—it can be a model to follow." In the "Art General," Liu Xizai of the Qing dynasty wrote: "To study Yongxing's calligraphy, one must recognize its bones over its flesh. The spirit of the 'Temple Hall Stele' is what past masters praised! This advice should be pondered by calligraphers."