Suishoushan Sarira Pagoda Stele

Author: Shanghai Shuxue Publishing House Editorial Department
Publisher:
Publish Date: 2003-08-19
Features: Buddhism originated in India and was introduced to China during the Western Han Dynasty, where it developed alongside Taoism. By the Eastern Han Dynasty, it had become widely popular, and during the Wei, Jin, Southern and Northern Dynasties, it spread even further. At that time, due to the division of states and frequent wars, coupled with natural disasters and human misfortunes, people sought spiritual solace and liberation by practicing Buddhism or Taoism, or by carving Buddha images or constructing temples and pagodas. To promote the teachings of Buddhism, it was essential to record them in writing. As a result, activities such as carving scriptures, writing manuscripts, inscribing images, engraving tower inscriptions, and carving scriptures on pillars became widespread, closely linking religion with calligraphy. During that era, when people carved inscriptions on scriptures, they would invite scholars and skilled calligraphers to compose and inscribe the texts. Over the past century, the discovery of a large number of written manuscripts in the secret chambers of Dunhuang, as well as rock carvings, tower inscriptions, temple steles, pillar inscriptions, grottoes, and Buddha images, have provided us with invaluable materials for studying the calligraphy of our predecessors. Paper has no long life, so it is necessary to engrave on stone to preserve ancient texts for future generations. Even during the Sui Dynasty, when hemp paper was available for writing, important records were still inscribed on stone. The Sui Dynasty "Shoushan Liensi Pagoda Stele" (also known as the "Yuzi Liensi Pagoda") included in this volume, with its full title "The Stele of the Shoushan Liensi Pagoda in the Qiyan Daochang of Hedong County," was carved in the second year of Emperor Renshou (602) and is the first published example of Sui Dynasty regular script. The regular script on this stele is already quite mature, with well-proportioned and spacious characters that are balanced and harmonious. Although the brushwork lacks the distinct beginning and end of Tang Dynasty regular script, it is still rendered with a smooth and robust style, appearing steady yet dynamic, full of varied beauty. Some individual characters even include elements of seal script and clerical script, but overall, this stele is very close to Tang Dynasty regular script. It can be said to inherit the legacy of the Six Dynasties and set the tone for the development of Tang Dynasty regular script. It is now published in a photolithographic edition to delight the.