Celebrating Years Stele
The original text of the Joy of Life stone tablet was: " I hope that the laws of Qing Kingdom will be established for the people. They will not be tolerated because of nobility, nor will they be deprived because of poverty. There will be no injustice that cannot be justified, and there will be no forced crimes. Obeying the law is like holding a sword, breaking the illusions of demons and monsters, and not seeking the gods." This inscription was Ye Qingmei's idea of reform. It was carved on the stone tablet at the entrance of the Overwatch Council. This inscription expressed his hope for the Qing Kingdom's laws. He hoped that the laws would be established for the people, not biased towards the noble, not deprived of the poor, and eliminate injustice and unjust crimes. Following the laws was like using a sword, breaking the evil forces that were worshipped, and not relying on the gods. This inscription was changed in the TV series and the novel, but the core idea remained the same.
Joy of Life
The words on the Overwatch Council stele to celebrate the past years
The words on the Overwatch Council stone tablet were: " I hope that the people of Qing Kingdom can become unsettled people. When you are abused by others, you will not yield. When you are attacked by evil, you will not be frustrated. If you do something wrong, you will not be afraid to correct it. You will not flatter jackals and tigers..."
The words on the Overwatch Council stele to celebrate the past years
The words on the Overwatch Council stone tablet were: " I hope that the people of Qing Kingdom can become unsettled people. When you are abused by others, you will not yield. When you are attacked by evil, you will not be frustrated. If you do something wrong, you will not be afraid to correct it. You will not flatter jackals and tigers..."
Yiying Stele
The full name of the Yiying Stele was the Stele of the Hundred Stone Death History of the Minister of Han and Lu. It was also known as the Stele of the Hundred Stone Death History of the Minister of Han and Lu. It was carved in the Confucian Temple in Lu County in the first year of Yongxing of the Eastern Han Dynasty (AD 153), which was the most developed period of official script in China. The stele is 2.6 meters high and 1.28 meters wide. It is written in official script with a total of 18 lines of 40 words per line. It is now in the Han and Wei stone carving room of the Confucius Temple in Qufu, Shandong Province. The inscription recorded the letter from Yi Ying, the prime minister of the State of Lu, to the imperial court in the Han Dynasty, requesting the establishment of a hundred stone soldiers in the Temple of Confucius to take charge of the sacrificial ceremony, as well as the praise for Yi Ying. The Yi Ying Stele was recognized as the most imitated Han Li. It already possessed all the expression techniques of mature official script, and the rules and regulations were appropriate. In terms of style, it was a standard eight-point official script. The font structure presented flat, square, or rectangular shapes according to the number of horizontal lines, and it was interlaced and avoided. The brush technique was rigorous, which was a typical Han Li. The horizontal painting was even and straight, and both square and round were used. The rhythm was lively. It was a representative work in the history of the development of Chinese characters in our country. Together with "Rites Stele" and "Shi Chen Stele", it was called "Three Steles of Confucius Temple". It was the ultimate work of the standardized eight-point official script and had a deep influence on later generations. In history, Zhao Wei, a scholar of epigraphy in the Ming Dynasty, commented that its narrative was simple and ancient, and its official style was vigorous, which made people imagine the elegant demeanor of the Han people. Fang Shuo, a calligrapher in the Qing Dynasty, also gave high praise, thinking that its words were square and thick, which could be called the beauty of the ancestral temple and the wealth of hundreds of officials. Some people commented that it was ancient, harmonious and smooth, which was the most worthy of learning from the works of Han Li. In the art of calligraphy, it had a unique artistic style, such as the pursuit of balance between left and right, the degree of circumference, and the steadiness in the change, so that the symmetrical shape of the characters and the balance of the structure could achieve the best effect. As a whole, it presented a simple and unsophisticated beauty of agility and simplicity, hardness and softness. It not only had the power of strokes but also the beautiful structure. It also had a vigorous and simple charm and the inner charm of neutral aesthetics. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Mysterious Stele
Wei stele
The Wei Stele was the general name for the Northern Dynasty's stele calligraphy during the Wei, Jin, and Southern and Northern Dynasties. It was mainly composed of four parts: the statue inscription, the stele inscription, the cliff carving, and the epitaph. It got its name from the Northern Dynasty (439 - 581), where there were many schools of writing and calligraphy. The tombstones, tower inscriptions, brick carvings, and other writing relics of the Wei Dynasty (including the Northern Wei, Eastern Wei, and Western Wei) had the highest level of inscriptions. The Wei stele font was created and became popular during the Pingcheng and Luoyang stages of the Northern Wei Dynasty. From the stagnation of the Tang Dynasty to the revival of the Qing Dynasty with the development of the study of epigraphy, the concept of epigraphy was gradually formed during the prosperity of the Qing Dynasty. As a new font of the Northern Dynasty, the Wei Stele had not yet been completely finalized. It was in the transition stage from official script to regular script. It was influenced by the cultural exchange and integration of the ethnic groups at that time. It had the characteristics of the Han style being reserved and restrained, and the simplicity and magnificence of the ethnic minorities. Moreover, because the carving material was stone, the seal carving was more flexible and changeable. His representative works include Twenty Items of Longmen, Zhang Xuan's Epitaph, Zheng Wengong's Stele, Zhang Heinu's Epitaph, Yao Boduo's Statue, etc. The continuous development of the Wei Stele calligraphy style promoted the progress of running script and regular script, laying a solid foundation for the structure of modern Chinese characters. It was of great significance to the development of China characters and the transformation of forms. In terms of calligraphy style, Wei Stele Style (similar to the concept of Wei Stele, referring to the calligraphy style of the Northern Wei Dynasty) used swift strokes, sharp strokes, round inside and outside at the turning point, ancient and clumsy structure, dense and natural, strong and strong. The structure of Yuanzhen's Wei stele was tight yet flexible. The whole stele was tightened in the middle and stretched out on the outside. Different Wei stele works also had their own characteristics in the words. For example, some of the strokes were close and rhythmic, while others were compact and majestic. As a traditional China calligraphy, the culture and heritage protection of the Wei Monument were highly valued. Experts and scholars established the Wei Monument Research Institute, established the Ming Hall of the Northern Wei Dynasty and other museum to protect cultural relics, and also held genuine rubbing exhibition,"Yungang Cup" and other activities to inherit and carry forward the Wei Monument culture. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Wei Stele Calligraphy
The Wei Stele Calligraphy was an inscription from the Northern Wei Dynasty. It had a unique style and artistic value. The Wei stele style inherited the Han Li and the Tang Kai, showing the innovative spirit of calligraphy art. Among them, Epitaph of Zhang Heinu, Stele of Zhang Menglong, and Record of Yang Dayan's Statue were all classic works in the copybook of Wei Monument. These inscriptions were famous for their dignified and handsome strokes, delicate and upright knots, and colorful styles. The copybook of the Wei Stele was very popular among calligraphy students and was regarded as an important reference for learning the calligraphy of the Wei Stele.
The stele of Suilong Temple
The Stele of Longzang Temple was engraved in the sixth year of Emperor Kaihuang of Sui Dynasty (586 years). It was called the Stele of Longzang Temple, which was built by the governor of Hengzhou, Duke of E, for the country. It was hidden in Longxing Temple in Zhengding, Hebei Province. The original Longzang Temple of Sui Dynasty was built by Wang Xiaoxian, the governor of Hengzhou at that time, who was ordered to organize more than 10,000 people in the state to donate money. The stele was 3.15 meters tall and had 1500 words in total. There were 30 lines of inscriptions on it, 50 words per line, written in regular script. There is no name of the author, Ouyang Xiu's "Collection of Ancient Records" believes that the author is Zhang Gongli, who signed at the end of the stele, but the word is damaged and difficult to identify the author. The stele was in the middle script style and was of great significance. In terms of the art of calligraphy, its diction was exquisite and its calligraphy skills were wonderful. It was the first of its kind in Tang Dynasty and occupied an important position in the history of the development of regular script. It was called "the first in Sui Dynasty". His pen is thin and vigorous, depressed, deep and sincere, and his body is flat and elegant, graceful and clear. It melts elegant, ancient, clumsy, broad and deep in a furnace. The pen is square outside and round inside, straight and square, vigorous and sharp, integrating the solemn and solemn stele with the graceful and exquisite post. It gathered the strokes of the Northern and Southern Dynasties, and sometimes came out of the Han Li style. It was square, straight, tall, broad, elegant, flat, and natural. It made the graceful, beautiful, thin, hard, and steep into one, forming a "new regular script". It had an impact on the shape, development, and maturity of the regular script of the Tang Dynasty. The regular script masters of the early Tang Dynasty and the middle and late period were more or less influenced by it. However, there was a controversy over the term "ancestor of regular script" because regular script had gradually matured at the end of the Han Dynasty. There were two to three hundred years between Zhong Yao and the Stele of Longzang Temple. Although the Stele of Longzang Temple retained some official script, it was a standard regular script. In addition, Ouyang Xun, who was an old minister of the Sui Dynasty in the early Tang Dynasty, was already very mature in the Sui Dynasty. Therefore, it was not very objective to call it "ancestor of regular script". In addition, there was also a Longzang Temple built in the Tang Dynasty in Sichuan Rongjun Hospital in Long 'an Community, southwest of Xinfan Town, Chengdu. It was originally called Cihui Temple. It was expanded into a temple during Emperor Zhenzong of Song Dynasty. After being destroyed and rebuilt, it was once a cultural gathering during the Xianfeng period of Qing Dynasty. In 2019, it became a national cultural protection unit. It is still not open now. Only the hexagonal pavilion and stele pavilion outside the mountain gate can be used for the patient's family members to rest. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Stele of Cao Quan
The Stele of Cao Quan was in the official style. Its full name was the Stele of Cao Quan, the Order of Heyang of Han Dynasty. It was also called the Stele of Cao Jingwan. It was erected by Wang Chang and others in the Eastern Han Dynasty to praise the merits of Cao Quan, the Order of Heyang. It was erected in October of the second year of Zhongping (185 years) of Emperor Ling of the Eastern Han Dynasty. It was unearthed in Shenli Village, Heyang (present-day Heyang, Shaanxi Province) in the early years of Wanli of Ming Dynasty. The stele is now preserved in the third room of Xi'an Stele Forest Museum. The Palace Museum in Beijing and Shanghai Museum have rubbings of Ming Dynasty. There are 20 lines on the front of the stele, each line has 45 words, and there are 33 lines on the back of the stele, divided into 5 rows. The seal inscription has been lost, the whole monument has a total of 1165 words. The front of the stele recorded the life and achievements of Cao Quan, the county magistrate of Heyang, while the back of the stele was engraved with the name, official position, and amount of money paid by the fund-raiser. This stele was unearthed relatively late. The inscription was well preserved, the handwriting was clear, and there were many rubbings. It was collected by Wang Chang's "Jinshi Collection", Fang Shuo's "Pillow Sutra Hall Jinshi Calligraphy and Painting Postscript", as well as the rubbings published by Xi'an Map Press. The rubbings of the steles in the Palace Museum were 253 centimeters high and 123 centimeters wide. It was said that the steles were broken at the end of the Ming Dynasty, and most of them were rubbings after breaking. Cao Quan's Stele was one of the representative works of the official script at the end of the Eastern Han Dynasty. The characters were even and neat, and the strokes were both square and round. The style was beautiful. It recorded Cao Quan's situation when he was in office and his participation in the Battle of Shule and the suppression of the Yellow Turban Uprising. It was an important historical material for studying the peasant uprising at the end of the Eastern Han Dynasty. It was also one of the few works with relatively complete preservation and clear font among the existing Han Dynasty stone tablets in China. In 1996, it was rated as a national treasure stone tablet. In 2004, it was made into official script stamps by the State Post Office. In addition, there was also a book published by the Shanghai Painting and Calligraphy Press called "Cao Quan Stele". Moreover, Xi Kui's "Official Script Thousand Character Essay" was written in the style of Cao Quan's stele. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Wei stele font
In a broad sense, the Wei Stele was the general term for the inscriptions on steles, cliffs, statues, and epitaphs of the Northern and Southern Dynasties in China. Among them, the works of the Northern Dynasties were of extremely high quality, so the narrow Wei Stele also referred to the inscriptions of the Northern Dynasties. It was founded and popular in the Pingcheng and Luoyang stages of the Northern Wei Dynasty. It fell into a stagnant period in the Tang Dynasty and then ushered in a revival period with the development of epigraphy in the Qing Dynasty. Its concept gradually formed until the prosperity of epigraphy in the Qing Dynasty. The Wei Stele was a new font from the Northern Dynasty. It had not yet been completely finalized. Due to the influence of the cultural exchange and the liberation of the people during the Wei, Jin, and Southern and Northern Dynasties, it had been continuously transitioned from official script to regular script. It had both the characteristics of the Han style and the simplicity of the minority. At the same time, because stone was used as the carving material, the seal carving was more flexible and changeable. It was mainly composed of four parts: statue inscription, stele inscription, cliff carving stone and epitaph. Representative works included "Dragon Gate Twenty Grades","Zhang Xuan's Epitaph","Zheng Wengong Stele","Zhang Heinu's Epitaph","Yao Boduo's Statue Record" and so on. There were many styles of Wei steles. Most people's impression of Wei steles was simple and unadorned, but there were also bold and unconstrained styles like Zhang Menglong's stele, graceful and restrained styles like Zhang Xuan's epitaph, and some styles that were both. The concept of the Wei stele style was formed in the late Qing Dynasty. It referred to the regular script style of the Northern Wei steles, which was featured by the tight knot of the oblique painting and the square and steep stippling. It was mainly popular in the steles of Luoyang after Emperor Xiaowen of the Northern Wei Dynasty moved the capital to Luoyang, when the Northern Wei Dynasty split into the Eastern and Western Wei. The continuous development of the Wei Stele calligraphy style promoted the progress of running script and regular script, laying a solid foundation for the structure of modern Chinese characters. It was of great significance to the development of China characters and the change of forms. The protection of its culture and relics was highly valued. Experts and scholars established the Wei Stele Research Institute, established a museum to protect precious cultural relics, and held relevant activities to inherit and carry forward the Wei Stele culture. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
"Stele of the Good King."
The full name of the 'Good King Stele' was 'Goguryeo's Great King's Tomb Stele of Peace and Peace in Guangkai's Land.' It was also known as the 'Good King Stele of Koryo.' It was discovered in Taiwang Township, Ji 'an County, Jilin Province, in the sixth year of Guangxu in the late Qing Dynasty (1880 AD). The original stele had no date, but it was later verified to be carved in the tenth year of Yixi of the Eastern Jin Dynasty (AD 414). Judging from the calligraphy style, the font of this stele was between regular script and official script. It was a relatively unique calligraphy style. Its style was similar to that of the Monument of Taiwei Deng's Ancestral Hall and the Monument of Guangwu General. It had the characteristics of square, simple, ancient and thick. His strokes retained the rich style of Qin Zhuan. The strokes were round and blunt, the hidden edge was reversed, the strokes were slow and astringent, the strokes were calm, the turns were agile and solid, and there were very few ripples in the lines. The strokes were mainly flat and straight. In terms of structure, it was round and vigorous, square and honest, broad and generous, simple and unadorned. The distribution of quantitative indicators such as the length and thickness of lines was balanced, and the spatial control was casual and natural. On the chapter, it is based on the sparse and clear, and both the word and the whole reflect the sense of sparse and careless. In terms of historical value, the Good King Stele recounted the myths of Goguryeo's founding, the military achievements during the reign of Damdeok, the succession of the throne, and the historical facts of the war between Silla and Japan, as well as the harsh laws of the tomb hunting slaves. It was an important material for studying the history of Goguryeo. In terms of rubbings, there were two well-known rubbings in the middle and late Guangxu period. One was the leather paper light ink rubbing mentioned by Ye Changchi in Yu Shi. Each side was divided into four sections, with a total of 16 pages, and the characters were plump. The other was the Koryo paper pot smoke thick ink rubbing mentioned in Tan Guohuan's handwritten letter. Each side had a total of four pages. The paper was tough and the characters were bright and clean. It was regarded as a treasure by experts. When writing the words on the stele, some people thought that they should return to a primitive and innocent state and not be bound by rules. However, in fact, this kind of writing had its own requirements, and it was even more difficult to write well. The evaluation was mainly based on the person's life state and the coordination and quality of the handwriting left behind. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!