Northern Wei Yuan Fang Tomb Inscription

Author: Fang Chuanxin
Publisher:
Publishing Date: 2003-07-01
Features: Epigraphy is a treasure of Chinese calligraphy art. The practice of carving inscriptions on stone began in the Qin Dynasty, but it was referred to as [carved stone] during the pre-Qin and Western Han periods. However, the custom of carving inscriptions on stone flourished only in the Eastern Han Dynasty. Ancient kings, high officials, and noble families would often inscribe their names and achievements on stone tablets after their deaths, with the inscriptions written in red ink and carved into the stone. The content was primarily about recording merits and praising virtues, intended to be preserved for future generations. During the Northern and Southern Dynasties period, the Yangtze River served as a boundary. To the north were the Northern Wei (divided into Northern Wei, Eastern Wei, and Western Wei), Northern Qi, Northern Zhou, and Sui; to the south were the Southern Dynasties (including Southern Song, Southern Qi, Liang, and Chen), each ruling separately. The Southern Dynasties excelled in writing formal letters, with elegant, unrestrained styles, while the Northern Dynasties were skilled in inscriptions on stone tablets, with bold, rustic styles. Additionally, the Southern Dynasties banned the practice of carving inscriptions on stone, considering it a waste of resources and an encouragement of hypocrisy. As a result, there are very few stone tablets from the Southern Dynasties. In contrast, the Northern Dynasties' emperors were fond of embellishing metal and stone inscriptions, and the practice of carving inscriptions on stone intensified after the Eastern Han Dynasty, with tomb epitaphs being the most numerous. Since the Northern Dynasties reached their peak with the Northern Wei, the number of unearthed stone tablets is also the highest, making them a major category of tomb epitaphs. Therefore, they are often referred to as [Wei Stele]. The calligraphy of the Northern Wei can be broadly divided into two stages: the early period (the hundred years before the Northern Wei moved its capital to Luoyang, during the Pingcheng period) and the later period (the forty years after the Northern Wei moved its capital to Luoyang). After the mid-Qing Dynasty, a large number of tomb epitaphs were unearthed, primarily from the Luoyang period, with such an overwhelming quantity that it is hard to take them all in. Among them are many works with excellent calligraphy and exquisite carving. In terms of style, they can be divided into two major categories: slanted and tight, and horizontal and spacious. These epitaphs can be considered important materials for studying Northern Dynasty calligraphy. The Northern Wei [Epitaph of Wu Fang], also known as [Epitaph of Yuanfang, the Governor of Guangzhou], was carved on the 30th day of the seventh month of the Jianyi year (528). It measures 53.3 cm in height and 54.5 cm in width, with 18 lines and 20 characters per line. It was unearthed in Anjiaogou Village, north of Luoyang City, in 1928 and is now housed in the Henan Provincial Museum. This epitaph has a somewhat flat structure, a broad and majestic style, and sharp, refined strokes. Its calligraphic style is balanced yet full of unrestrained, extraordinary, and daring charm. The overall layout of the epitaph varies in size and composition, with some characters appearing to be neither seal script nor clerical script, such as [] and [], which are full of unique charm. They not only demonstrate the calligrapher's high level of skill but also reveal his spontaneity in writing. Because of the freedom in his writing, he often deviates from the norm, making this epitaph one of the most distinctive in Northern Wei tomb epitaphs. It provides a fresh perspective and serves as an excellent reference for calligraphy students.