Classics of Chinese Stele and Rubbing -- Chu Suiliang's "Holy Teaching from Yanta"

Author: Fang Chuanxin
Publisher:
Publishing Date: 2003-12-01
Features:
Regular script originated in the late Eastern Han and early Wei periods. As it evolved from clerical script, early regular script was（ancient and rustic） with distinct （wave-shaped and tapered strokes）， carrying a strong influence of clerical script. Over nearly four centuries of evolution from the Six Dynasties to the early Tang, it gradually matured. The Tang Dynasty was the heyday of regular script in China, characterized by perfectly formed characters, strictly adhered-to proportions, and a flourishing of calligraphers and schools. It was aptly described as "melting the north and south into one pot." Among the early Tang trio—Yu Shinnan’s（）rounded and elegant style, Ouyang Xun’s（）square and severe style, and Chu Suiliang’s（）delicate and vigorous style—though their spirits varied, they were all influenced by Wang Xizhi’s（）styles, valuing （thin and resilient）beauty, which became the hallmark of early Tang calligraphy. The Tang people esteemed （methodology）, setting a precedent for later generations. Many calligraphers throughout the dynasties benefited from these three masters. Ma Zonghuo’s（）《Shulin Zaojian》（《》）stated: "The early Tang still retained the lingering influence of the Jin and Southern and Northern Dynasties. To study the Jin style, one should start from the Tang, which is precisely the case."
Regular script originated in the late Eastern Han and early Wei periods. As it evolved from clerical script, early regular script was（ancient and rustic） with distinct （wave-shaped and tapered strokes）， carrying a strong influence of clerical script. Over nearly four centuries of evolution from the Six Dynasties to the early Tang, it gradually matured. The Tang Dynasty was the heyday of regular script in China, characterized by perfectly formed characters, strictly adhered-to proportions, and a flourishing of calligraphers and schools. It was aptly described as "melting the north and south into one pot." Among the early Tang trio—Yu Shinnan’s（）rounded and elegant style, Ouyang Xun’s（）square and severe style, and Chu Suiliang’s（）delicate and vigorous style—though their spirits varied, they were all influenced by Wang Xizhi’s（）styles, valuing （thin and resilient）beauty, which became the hallmark of early Tang calligraphy. The Tang people esteemed （methodology）, setting a precedent for later generations. Many calligraphers throughout the dynasties benefited from these three masters. Ma Zonghuo’s（）《Shulin Zaojian》（《》）stated: "The early Tang still retained the lingering influence of the Jin and Southern and Northern Dynasties. To study the Jin style, one should start from the Tang, which is precisely the case."
Among the trio, Ouyang Xun and Chu Suiliang were particularly widely influential. Ouyang Xun excelled in （bone force and structure），while Chu Suiliang was renowned for （fluidity and grace）. Studying Ouyang Xun without proper guidance may lead to a rigid and mechanical style, whereas incorporating Chu Suiliang’s methods can balance this, even transforming it into a cursive script. Many modern calligraphers, such as Shen Yinmo（）、Pan Boying（）， and Bai Zhao（）， drew heavily from Chu Suiliang’s style. It is said that Chu Suiliang’s calligraphy was like a teacher, and its profound influence is evident. Chu Suiliang (596–659), styled Dengshan, was from Qiantang (now Hangzhou, Zhejiang). He was knowledgeable in classics and excelled in clerical and regular scripts. After Yu Shinnan’s passing, Emperor Taizong sighed, "Since Yu Shinnan’s demise, no one else is worthy of discussing calligraphy with me!" Wei Zheng then recommended Chu Suiliang, saying, "Chu Suiliang’s brushwork is vigorous and truly embodies Wang Yishao’s（）style." Emperor Taizong, who cherished Wang Xizhi’s calligraphy, offered gold and silk as rewards to collect it. At that time, people from all over the country sent Wang’s works to the capital, making it difficult to distinguish genuine from fake. Only Chu Suiliang could appraise and authenticate them, and he compiled them into the imperial collection. His calligraphy inherited Wang Xizhi’s tradition, being （soft on the outside, strong on the inside）, with fluid strokes and great reputation. He was known as one of the "Four Masters of Early Tang" alongside Ouyang Xun, Yu Shinnan, and Xue Ji. His extant works include calligraphy such as 《Ni Kuan Zan》（《》）and 《Yinfu Jing》（《》), and stone carvings like 《Yanta Shengjiao Xi》（《》), 《Yiqu Foqian Bei》（《》), and 《Fang Xuanling Bei》（《》).
This album, a photographic reproduction of an original rubbing from the middle Ming Dynasty, is highly regarded. According to Wang Zhuanghong’s（）《Zengbu Xuebei Susui》（《》), "The middle Ming rubbing preserves the character 'Qian' in the twelfth line of the twelve lines titled 'Guo Bi Qian Wen'（'Widen the Knowledge Beforehand'） intact. The first line of the postscript preserves the character 'Zang' in 'Huangdi Yu Sanzang'（'The Emperor Mentions Three Treasures'）, the third line 'Xunzhi', the fourth line 'Gangzhi', and the tenth line 'Hunzhi' intact." Upon close inspection, the rubbing is of superior quality, with clear character edges, making it an excellent edition. It is now published for the first time and can serve as an outstanding model for beginners.