Han Cao Stele and its calligraphy style

Author: None
Publisher:
Publishing Date: 1999-02-01
Features: A Brief Analysis of Cao Quan Stele and Its Aesthetic Characteristics
Cursive script originated in the Qin Dynasty and flourished in the Han Dynasty, especially in the Eastern Han period, when stele carvings became particularly developed, leaving behind many fine works of calligraphic art. Among them, the Cao Quan Stele can be considered one of the representative works with the most mature techniques in the development of cursive script.
The full name of the Cao Quan Stele is Han Heyang County Magistrate Cao Quan Stele, also known as Cao Jingzong Stele. It stands 253 cm tall and 123 cm wide, erected in October of the second year of the Lingdi reign of the Eastern Han Dynasty (185 AD). The stele has twenty lines on the front, with forty-five characters per line; on the back, it is divided into five columns: the first column has one line, the second and fourth columns have twenty-six lines each, the third column has five lines, and the fifth column has four lines. The stele lacks a header and was unearthed in Xuanli Village, Heyang County, Shaanxi Province, in the early years of the Wanli reign of the Ming Dynasty. It is now preserved in the Stele Forest of Xi'an, Shaanxi Province. After the eleventh year of the Kangxi reign of the Qing Dynasty, cracks appeared on the body of the stele. From the rubbings, the characters of the Cao Quan Stele are relatively well-preserved, though some wind damage is inevitable. However, the outlines of the characters and the beginning and ending of the strokes remain clear, which undoubtedly provides great convenience for later generations to practice calligraphy.
As a representative work of mature cursive script from the Eastern Han Dynasty, the Cao Quan Stele holds a high position in the hearts of scholars and calligraphic critics throughout history. Sun Chengze of the Qing Dynasty praised it as "exquisite in form, elegant in spirit, and gracefully matching the Liqi Stele in brilliance," calling it "a treasure among Han stone carvings." Wan Jingping said, "It is graceful and dynamic, unrestrained yet not rushed—it is truly a divine work." Kang Youwei of Nanhai believed it belonged to the same family as the Kongzhou Stele, both excelling in "spirit and elegance." Xu Shujun, in his Baoya Zhai Qibai, described the calligraphy on the back of the stele as "profound and subtle, especially enjoyable to appreciate." From the many analyses of predecessors, we can see that the most significant aesthetic feature of the Cao Quan Stele is its elegance and tranquility. Compared to the crude Han steles of the same era, the Cao Quan Stele is like a refined gentleman, possessing high cultivation. Its personality is neither aggressive nor restrained, balanced and peaceful, both conforming to norms and yet gracefully transcending them, forming a sharp contrast with steles like the Zhang Qian Stele, which pursue authenticity and simplicity.
The elegant and tranquil aesthetic feature of the Cao Quan Stele can be understood from the following aspects:
1. Purely rounded strokes, containing subtlety. There are roughly three types of stroke techniques in calligraphy. The first is square strokes, which are common in stele carvings. Due to the nature of carving, the starting and ending points of the strokes are often square. Later calligraphers sometimes admire the square angles left by the tools, the aesthetic effect of firmness and sharpness. The Zhang Qian Stele, for example, is mostly square. The second type is rounded strokes, where the beginning and end of the strokes are rounded, with the main stroke direction being the central axis. The third type is a combination of square and rounded strokes. Most works in history use a combination of square and rounded strokes: some prioritize square strokes with rounded accents, while others prioritize rounded strokes with square accents. From the complete rubbings of the Cao Quan Stele, its strokes are mostly rounded. Rounded strokes are gentler and more reserved, which is the key to achieving the tranquil and elegant artistic effect of this stele.
2. Smooth and gentle stroke movement. Due to the inherent structure of cursive script, its lines cannot be as dynamic as those in running or cursive script, which gives cursive script a natural tendency toward tranquility. However, among tranquil cursive scripts, the artistic effect varies depending on the stroke technique. Steles with pronounced variations, such as the Shimen Song, have a sense of unrestrained grace. In contrast, the Cao Quan Stele moves smoothly and steadily, without excessive fluctuations, with the brush tip always within the stroke path. The lines are simple and unslippery, making them more restrained. The sense of movement in this stele comes mostly from curved, long lines, such as in the (left-falling strokes), (right-falling strokes), (hooks), and the curved parts of (horizontal strokes). This gives the stele a graceful and elegant charm. Smooth and gentle lines are another important reason for the elegant and tranquil aesthetic of the Cao Quan Stele.
3. Concise and economical lines, stopping where the meaning reaches. Han steles each have distinct aesthetic features. For example, the Zhang Qian Stele is rough, the Shimen Song is lively, the Yi Ying Stele is rich, the Zhang Jing Stele is fine and strong, and the Xia Cheng Stele is lingering. The Cao Quan Stele, however, is concise and economical. Observing the characters on the stele, the lines show no signs of decoration. Often, a stroke extends to an unexpected position and stops abruptly. Many dots and short horizontal strokes are condensed, and most characters are disconnected at the joints of strokes, leaving ample white space. Yet, the brush intent remains unobstructed despite the simplicity of the strokes, appearing more harmonious and natural, with a more rounded and tranquil space, setting it apart from other Han steles.
4. Stable and well-balanced structure. The form of the Cao Quan Stele is mostly flat, with a few square or rectangular shapes. Due to its flatness, it tends to be horizontal, giving a sense of stability. The flat and horizontal forms are mainly created by elongating the main horizontal strokes or extending the (left-falling strokes) and (right-falling strokes). Compared to the Liqi Stele, the structure of the Cao Quan Stele appears more balanced. This is not because the Cao Quan Stele is more standardized or equally arranged than the Liqi Stele (in fact, from the perspective of structural uniformity, the Liqi Stele might even be more regular), but rather because the Cao Quan Stele handles the relationships between its upper, lower, left, and right sides more naturally and reasonably. For this reason, the Cao Quan Stele appears more serene and elegant than the Liqi Stele, Zhang Jing Stele, and others, with a higher artistic level. Its flat and elongated form creates a sense of spaciousness, and this structure, combined with the restrained rounded strokes, gives it an elegant character. Thus, when we study the Cao Quan Stele, in addition to mastering the basic stroke techniques and structural principles, we should also grasp its artistic quality. Conversely, only with a high-level understanding of the Cao Quan Stele can we better comprehend or analyze its basic techniques, thereby achieving a state of "harmony between form and spirit" in calligraphy.
Without pretending to be knowledgeable, I have compiled my scattered thoughts on the Cao Quan Stele, along with explanations of stroke techniques and structural principles, hoping to offer a starting point for experts and scholars to refine and correct my work.
—Jin Zheng