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.
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!
Basic strokes of Wei stele calligraphy
The basic strokes of the Wei stele calligraphy style included horizontal, vertical, left-handed, right-handed, and dot strokes. Its basic stroke characteristics can be summarized as follows: the pen should be used to start and end the pen horizontally and vertically; the pen should be drawn back or written in a wave form; the pen should be folded horizontally or written as a point; the word mouth should be surrounded by the lower left and upper right corners. When learning the basic strokes of calligraphy on the Wei Stele, one had to master the structure, order, and strength of each stroke. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
The Three Most Awesome Works of the Wei Stele
There were many excellent works in the Wei Monument, and it was difficult to define exactly which three were the "most powerful", but the following three works were very representative: The first one was Twenty Grades of Longmen, which was a rubbing of the inscriptions of the twenty statues in Longmen Grottoes. The strokes were quick and sharp, which well reflected the characteristics of Wei stele style. The second was the Stele of Zhang Menglong. Its font structure was rigorous, the strokes were strong and powerful, and the calligraphy style was strong and beautiful. It had an important position in the works of Wei steles. The third is "Great Wei Zhao Mi Epitaph," the full name of "Great Wei Old Chieftain Longxiang General Zhao Mi Epitaph," the wind is dangerous and steep, strong and handsome, and the law is solemn, the momentum is not inferior to "Zhang Menglong Stele." The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
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
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.
The Soul Suppressing Stele
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"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!
Longxing Temple Stele
There were many inscriptions in Longxing Temple, among which the more famous one was Longzang Temple Stele. The Stele of Longzang Temple was carved in the sixth year of Emperor Kaihuang of Sui Dynasty (586 years). It was a very valuable inscription in Longxing Temple. It was established by Wang Xiaoxian, the governor of Hengzhou, who was ordered by the emperor to encourage more than 10,000 common people in Hengzhou to build Longzang Temple. Not only did this monument have historical value, but it also had extremely high calligraphy value. The inscription mainly recorded the construction of the temple, such as the process of the Hengzhou governor persuading the construction of Longzang Temple, the scale of the temple at that time, the architectural landscape and the surrounding environment, etc. It was an important historical material for studying the history of Longxing Temple. In terms of calligraphy, his handwriting was "neat, dense, thin, and strong, the first in the Sui Dynasty". His strokes were deep and powerful, with a combination of hardness and softness. The composition was rigorous and elegant, and the square was neat. It was already a mature image of regular script. It inherited the remnant wind of the Northern and Southern Dynasties and opened the first calligraphy of the early Tang Dynasty. It nourished a group of calligraphers such as Ouyang Xun, Yu Shinan, and Chu Suiliang. It was praised by Kang Youwei as "this integrated monument of the Six Dynasties, not only the first in the Sui Dynasty". There is also a "Holy Lord's Life Longevity Zhuyan Stele" in the temple, carved in the fourth year of Yuan Yanyou (1317), now standing in Zhengding Longxing Temple behind the wheel. In addition, there are five imperial steles of the Qing Dynasty in the temple, including one imperial stele of Kangxi, three imperial steles of Qianlong and one imperial stele of Jiaqing. Among them, the imperial stele of Longxing Temple in the fifty-second year of Kangxi and the rebuilding of Zhengding Longxing Great Buddha Temple in the forty-fifth year of Qianlong are located in the pavilions covered with yellow glazed tiles on the east and west sides of the moon platform of Great Compassion Pavilion. The other two imperial steles of Qianlong (engraved with six poems in total) and one imperial stele of Jiaqing are imperial poetry steles, which are respectively located in the side hall of Great Compassion Pavilion-Cishi Pavilion. Behind the Wheel Collection Pavilion and south of the Ci Pavilion. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!