Thirty kinds of fragments of statues

Author: Lu Fushi
Publisher:
Publish Date: 2003-07-01
Features: The Great Series of Chinese Folk Calligraphy. This collection gathers thirty fragmented or illegible inscriptions on Buddhist statues, primarily from the Wei, Qi, and Zhou dynasties. Ten of them have specific dates, while the majority are undated or improperly named. The arrangement does not follow chronological order. However, this combination resembles a fragmented historical scroll of statue inscriptions, unintentionally placing inscriptions from various time periods and regions together. It not only provides a chart of textual evolution but also allows us to perceive a thread—the evolution of the style of statue inscriptions. Moreover, this valuable connection carries a deeper meaning: it expands our perspective on calligraphy, as within a specific period, due to imperial patronage and the devout passion of religious faith, the act of creating statues and praying in northern China, whether meticulously crafted or roughly sketched, inadvertently revealed the wisdom of people from all strata. At the same time, regardless of the technical differences between precision and roughness, the stylistic convergence of statue calligraphy is still evident: the extraordinary charm and interest embedded in it, distinct from the elegance of the "clapper school," transcend the passage of time and remain vividly before our eyes. As Zhao Ziqian said in Zhang'an Zhashuo (Random Notes on Zhang'an): "The charm of 'ancient carvings from the Six Dynasties' lies in their endurance under scrutiny. When first encountered, the vulgar are startled, the wise smile, the blind stare for half a day, only to see a single stroke—each rise and fall is divinely crafted, unchangeable." This shows that the peculiar forms found in stele calligraphy indeed challenge the refined and majestic demeanor of the "clapper school." Based on the overall style of the statue inscriptions included in this volume, they can be roughly categorized into the following types:
1. Ethereal Style: Similar to the Shimen Ming (Stone Gate Inscription), with an expansive form like a crane spreading its wings. The strokes are relatively uniform in thickness, with extremely long strokes without serifs. Round calligraphy dominates, with an inwardly restrained elegance. The size variation in characters is immense, as if an immortal is sleeping in a pine tree—free, unrestrained, and boundless. For example, the statue fragments on pages 16, 17, and 20 of this volume are typical works of the ethereal style.
2. Naive Style: Primarily square calligraphy with occasional round strokes. The shapes of individual characters are highly unconventional and whimsical, arranged freely without adherence to conventional methods, full of humor, like a child being spoiled by a nurturing mother. The calligraphers and carvers of these inscriptions indulged their emotions, revealing an innocent charm. Since the strokes are cut with double blades, they remain subtle and. For instance, the statue inscriptions on pages 5 (lower), 23, 28, and 32 of this volume are typical examples of this style.
3. Asymmetrical Style: Single-blade cutting, with exposed tips, disregarding craftsmanship or stability, without a deliberate layout, like a rustic villager acting impulsively—disheveled and uncouth, devoid of etiquette. These statue inscriptions, often imbued with folk sentiment, were likely created by lay carvers. For example, the statue inscription on pages 10 (upper) and 19 of this volume is a typical example of the asymmetrical style.
4. Rectilinear Style: Double-blade cutting, combining both round and square calligraphy. The size of characters varies little within a line, displaying both vigorous and graceful beauty, representing the mainstream form of Northern Dynasties statue inscriptions. For example, the statue inscriptions on pages 8 and 31 of this volume are typical examples of the rectilinear style.
5. Elegant Style: Both writing and carving are refined, with grid lines, showcasing exquisite calligraphy, not the work of ordinary carvers. For example, the statue inscription of the Northern Jiande Year One (572) Tun Le for His Deceased Nephew Luo Huo on page 14 of this volume, with a style similar to the Zhang He Nu Stele, exhibits dynamic strokes and shapes, demonstrating that late Northern Dynasties statue inscriptions had already achieved a high level of "calligraphic quality," unlike early works, which were often crude in production or treated strokes merely as horizontal and vertical lines. Another example is the Feng Gou Statue Inscription of the Northern Qi Wuping Year Three (572) on page 25. Although its strokes are not as refined as the aforementioned inscriptions, its overall style is relatively unified, reflecting a broad and unrestrained aura. Although cut with a single blade, the carver often added a second cut at the ends of strokes, making them both exposed and concealed. Additionally, the body of the statue inscription often features a pronounced arc shape. These two works are undoubtedly fine examples.
Although this small volume of fragmented statue inscriptions can be seen as a concise history of the calligraphy of statue inscriptions, the rough craftsmanship and the more natural expression found in epitaphs are all reflected here. To conclude, many of the variant characters in this volume also reveal the chaotic results of ordinary people, limited by their knowledge, hastily creating characters. Readers can identify them while practicing or appreciating, such as Dai, Dan, Yan, Yi, Ni, Wei, Li, and Tun. Some characters are too obscure to be recognized and fall within the realm of specialists in textual studies.