Epitaph of Liu Asu of Northern Wei and two other items

Author: Fang Chuanxin
Publisher:
Publishing Date: 2003-07-01
Features: The Great Series of Chinese Folk Calligraphy. The Wei period was particularly flourishing in the stele inscriptions of the Six Dynasties tombs, as it was a time of lasting stability and artistic excellence. This was especially due to the Xiaowen Emperor's fondness for literature and his appreciation for embellishing stone and metal inscriptions. The Northern Wei, to distinguish itself from the Wei of the Three Kingdoms period, was also known as Later Wei. In the late 4th century, the Tuoba tribe of the Xianbei people gradually grew in strength. Tuoba Guwei established the capital at Pingcheng (modern Datong, Shanxi) in 398 AD, marking the beginning of the Wei Dynasty. Excavated steles from the Pingcheng period still retained strong Li calligraphic influences. By 494 AD, the capital was moved to Luoyang. It can be said that the nearly 150 years after the move to Luoyang were a major period for Northern Wei steles. Tang Youwei, in his Broad Boat of Artistic Craftsmanship (Guang Yi Zhou Shuang Ji), remarked: "The Northern Wei steles are the most magnificent and comprehensive among all Northern Steles. They inherited the declining fate of the Jin and Song dynasties and combined the artistic traditions of the Qi and Liang dynasties. With a long reign and flourishing artistry, the Xiaowen Emperor deeply loved literature and embellished great undertakings. Therefore, after the Tahe era, the Northern Wei steles reached their peak, with exceptional works and masterpieces flourishing during that time."
These underground steles lay dormant for over a thousand years until the early 20th century, when they were unearthed during the construction of the Longhai Railway, revealing their captivating charm and attracting worldwide attention. The Northern Wei steles are most abundant in Luoyang. From these unearthed examples, it is evident that the regular script (Kai style) had gradually matured, with most characters adopting a flat, square structure. The strokes were sharp and forceful. Although each stele had its own unique style due to variations in calligraphers and carvers, they all shared a general aesthetic of sharpness and elegance.
The Stele of Liu Asu in this volume was carved during the Zhengang era (520 AD). It originally measured 45 cm in height and 36 cm in width, with 13 lines of 16 characters each. Its full title is the Northern Wei Stele of Liu Asu, the Palace Attendant. It was unearthed in 1928 near Nanshicun, outside Luoyang, Henan, and is a typical Northern Wei stele. The calligraphy primarily uses square strokes, with some rounded transitions, maintaining a balanced flatness. The structure is daring and full of interest, with a layout that varies in size and length, occasionally extending beyond the boundaries of the characters, yet without appearing abrupt. It exudes a clever simplicity, making it renowned for its dynamic changes. As the first published version, it serves as a valuable reference for those studying regular script and seeking variation.
Another stele featured is the Stele of Yuan Shoufei, carved in the fourth year (507 AD). It measures 58 cm in height and 53.6 cm in width, with 8 lines of 15 characters each. Its full title is the Northern Wei Stele of Yuan Shoufei of Xinan Wang, Qu Shi. It was unearthed in 1919 near Houshizicun, 18 li north of Luoyang. The characters are flat and square, with a bold and unrestrained style. The strokes combine both round and sharp forms, especially in the upward strokes, which show great variation—sometimes smooth and rich, other times sharp and striking. The calligraphy is also relatively unrestrained, free from rigid conventions, undoubtedly representing a unique and dynamic style among Northern Wei steles.
These two steles are now published together in this volume as a photolithographic reproduction, solely to delight and benefit all calligraphy enthusiasts.