Hu Shiyan Yan

Author: Ji Lin
Publisher:
Publish Date: 2006-01-01
Features:
Chu Suiliang (596–658 AD), styled Dengshan, was a native of Qiantang (now Hangzhou, Zhejiang). He held the position of Right Vice Minister of Henan and was known as "Chu Henan" in later generations. He was well-versed in literature and history and excelled in clerical and regular scripts. Emperor Taizong once sighed, "After Yu Shennan's death, there is no one left to discuss calligraphy with!" His calligraphy was influenced by Wang Xizhi and Yu Shennan. The "Commentary on Calligraphy by Tang People" described his characters as follows: "Gold is born within the characters, jade is smooth between the lines, the rules are gentle and elegant, and beauty is multifaceted." The "Stele of the Holy Teachings at Yanta Pagoda" is also known as the "Stele of the Holy Teachings at Ci'en Temple." The Ci'en Temple Pagoda was built in the third year of the Yonghui era (652 AD), and the stele was carved a year later. The preface and record are inscribed on two separate stones, placed on either side of the Great Yanta Pagoda. After the stele's creation, Chu's style became fashionable. The first stone contains the preface, titled "Preface to the Holy Teachings of the Three Bibles of the Great Tang," written by Emperor Taizong Li Shimin and inscribed by Chu Suiliang, with 21 lines and 42 characters per line. The second stone contains the record, titled "Record of the Holy Teachings of the Three Bibles by the Tang Emperor," written by Emperor Gaozong Li Zhi and inscribed by Chu Suiliang, with 20 lines and 40 characters per line, written from right to left. Both stones are in regular script, carved by Wan Wenshao.
The "Stele of the Holy Teachings at Yanta Pagoda" is a masterpiece of Chu's calligraphy, characterized by round, slender, and strong strokes, with proficient and mature techniques. By the time Chu wrote this stele, he had already entered old age and had established a complete set of norms for the new Tang regular script. In terms of character structure, he changed the long, slender characters of Ou and Yu, creating a style that appears slender but is actually full and vigorous.
Zhang Huaijin of the Tang Dynasty praised this work, saying: "Like a beautiful woman in delicate silk, she is not too light but exudes elegance and charm." Qin Wenjin also remarked: "Chu Dengshan's calligraphy resembles a woman in silk, with a spirit like bronze branches and iron trunks. This stele is particularly graceful and vigorous, with waves like floating silk. Wan Wenshao (the carver) skillfully captured the subtle turns and transitions, making the stele the finest among all Tang Dynasty steles in terms of precision and refinement."