Mo Youzhi Longzang Temple Stele
Mo Youzhi (1811 - 1871) was a famous scholar in the late Qing Dynasty. Mo Youzhi mentioned in his postscript in the year of Tongzhi (1869) that true calligraphy flourished in the early Tang Dynasty. The early Tang Dynasty was proficient in the calligraphy of the Northern Dynasty, and the Stele of Longzang Temple was almost indistinguishable among Chu Suiliang's works, which showed the origin of his calligraphy style. The rubbings of "Zhang Gongli's Unfinished Version" and "Longzang Temple Stele" collected by Shanghai Library during the Yuan and Ming Dynasties were signed by Mo Youzhi, and this was the earliest one handed down from generation to generation, with the most preserved words and the most exquisite rubbings. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Similar to the stele of Longzang Temple
The inscriptions similar to the stele of Longzang Temple include Gao Zhan's Epitaph, which is similar in style to the stele of Longzang Temple taken by Chu Suiliang; there is also the Stele of Temple Hall, which is very similar to the stele of Longzang Temple, but it is difficult to know the degree of similarity between the two without seeing the old version. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
The Evolution of the Script of the Stele of Longzang Temple
Regular script originated from the end of the Eastern Han Dynasty and had gone through a long period of evolution in the Northern and Southern Dynasties. In the regular script of the Northern Wei Dynasty, the inscriptions and epitaphs were of great significance in the evolution of the font during the 30-year period from 500 to 530 A.D., with obvious artistic features. The Longzang Temple Stele was published in the sixth year of the Sui Dynasty (586 AD), only 50 years after the end of the Northern Wei Dynasty's heyday. In the stele of Longzang Temple, there were obvious traces of the structure of the Northern Wei steles (including the epitaph) and the use of pen in the front, front, back and sides of the stele. For example, the writing style of the big characters on the stele of Longzang Temple was similar to that of Zhang Menglong Stele, which was engraved in 522 (the third year of Zhengguang of Northern Wei Dynasty). When writing, all the strokes were pressed down. "Longzang Temple Stele" was written very neatly in squares. This kind of neat writing, structure, and style could be found in the vast number of Northern Wei epitaphs. As for the inscriptions on the back and sides of the stele, they were not placed in the grid, so they were written relatively casually. Moreover, the angle of the horizontal drawing to the upper right corner was very obvious. This method of writing was similar to the horizontal drawing in many Northern Wei inscriptions. The Longzang Temple Stele played an important role in the development and evolution of the Wei Stele and the Tang Kai. Together with Ding Daohu's Qifa Temple Stele, they formed the forerunner of the Tang Kai. From the calligraphy style of Longzang Temple Stele, the regular script of Ouyang Xun and Yu Shinan in the early Tang Dynasty inherited and used for reference to varying degrees. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
Introduction to the Calligraphy of Longzang Temple Stele
The calligraphy features of Longzang Temple Stele mainly had the following aspects: 1. ** Strokes and strokes **: The strokes are varied and precise, laying the foundation for Tang Kai's "advocating the law". From this, one can see the appearance of the regular script when it is close to maturity. Although there is a hint of official script when it is drawn horizontally, the overall technique and structure of the regular script are quite mature. 2. ** Space structure **: The space structure is full of aesthetic meaning, and the use of space has the artistic feature of " appropriate interweaving is wonderful ". This kind of open space beauty plus the characteristics of the pen makes it appear beautiful, beautiful, empty and elegant. Kang Youwei commented that this stele " has the meaning of penetration "," like golden flowers everywhere, fine and exquisite ". 3. ** Overall Qi and Charm **: It has the beauty of " moderate and tranquil "." moderate " is a state after the fusion of various styles. It is " mild " and tasteful. The style is a combination of graceful, gorgeous, ancient, and deep. It has a solemn and quiet charm. It does not have the dangerous habits of the Six Dynasties 'epitaph. The strokes are subtle, the structure is neat, broad, and elegant. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
Is the stele of Longzang Temple worth copying?
The Longzang Temple Stele had a high copying value. From the point of view of calligraphy art, the strokes were rich. The strokes were thin, vigorous, gloomy, and deep. They not only integrated the strokes of the Northern and Southern Dynasties, but also showed the strokes of Han Li from time to time. They had the characteristics of square-straight, straight, broad, elegant, flat, and natural strokes, which could allow the copyist to learn a variety of pen skills. In terms of composition, the composition is flat and elegant, graceful and clear, melding elegant, ancient, broad and deep in a furnace, square outside and round inside, straight pen square edge, thick and sharp, this unique composition style provides a rich structural learning example for the imitator. In terms of historical significance, it was in an important position in the development of regular script. It inherited the Han and Wei Dynasties and started the Three Tang Dynasties. The regular script masters in the early and late Tang Dynasty were more or less influenced by it. Imitating Longzang Temple Stele was helpful to understand the development of regular script and absorb the unique artistic nutrients of Sui Dynasty regular script. It was of positive significance to improve calligraphy skills and understand the evolution of regular script. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
Chu Suiliang Longzang Temple Stele
The Stele of Longzang Temple was carved in the sixth year of Emperor Kaihuang of the Sui Dynasty (586) and is now located in Longxing Temple, Zhengding County, Hebei Province. This stele was known as the "crown of steles in the Sui Dynasty" and was the ancestor of Tang Kai. Many schools in the early Tang Dynasty were influenced by it. Chu Suiliang was greatly influenced by the stele of Longzang Temple. He used the font of the stele as the basic framework to construct the Chu style. This origin could be seen from some examples. For example, the word "Fu" in "Longzang Temple Stele" would be thought to be Chu Suiliang's regular script if the origin was not stated. The horizontal drawing of the word "Qi" was written by flipping the official script horizontal drawing of silkworm head and swallow tail. This was the most obvious feature of Chu's regular script. It could be seen that people thought that Chu Suiliang's original writing method actually had its origin and inheritance. He copied the regular script writing method of "Longzang Temple Stele" and consolidated it in his own font. His Preface to the Holy Church of the Wild Goose Pagoda and the Stele of Master Meng had an obvious relationship with the Stele of Longzang Temple. The novel "Hidden Dragon" is equally exciting. Everyone is welcome to click and read it!
What are the characteristics of the calligraphy of the Longzang Temple stele?
The calligraphy of the Longzang Temple stele had the following characteristics: - In terms of strokes, the strokes were clean and vigorous, and the strokes were extremely precise, subtle and powerful, carving into the bones and muscles. There was a hint of official script left behind in the horizontal paintings. In many places, the strokes still retained the strokes of the Han and Wei official script. For example, the horizontal paintings mostly picked up the strokes to show the trend of retro, and some strokes added seal script to show the ancient meaning. - In terms of structure, the structure is neat and broad, flat and elegant, the font is slightly square, the structure is square and evenly arranged, and the words echo each other. However, the sizes of the characters on the stele were different, making the composition look natural and cute. Although it was already regular script, it still retained the style of official script. For example, the combination of many characters showed a square shape similar to the style of official script. Some characters had the same glyph characteristics as some inscriptions in the Northern Qi Dynasty. Its composition was similar to that of official script, and the word spacing was similar to the line spacing. - In terms of overall charm, it was a combination of beauty and ancientness. It had a solemn and quiet charm and a unique charm. The style did not have the dangerous and steep habits of the Six Dynasties 'epitaph. It inherited the remnants of the Northern and Southern Dynasties and was the first of its kind in the early Tang Dynasty. The novel " Hidden Dragon " is equally exciting. Everyone is welcome to click and read it!
The Legend of Xinfan Longzang Temple
There were the following legends about the Shin Fan Ryuzang Temple: - It was built in the third year of Zhenguan of Tang Dynasty (629 years) and was originally named Cihui Nunnery. Some people think that the name "Longzang" originated from the seclusion of Emperor Xuanzong of Tang Dynasty in Shu, which was the temple where the emperor hid. However, some people think that this is an attached statement and cannot be trusted. - There was also a legend related to Emperor Wen of the Sui Dynasty. It was said that Emperor Wen of the Sui Dynasty was placed in Longzang Temple (later Longxing Temple) after he was born. Influenced by Buddhist culture, Emperor Wen of the Sui Dynasty strongly supported the development of Buddhism after he established the Sui Dynasty. However, the legendary Longzang Temple was located in Hengzhou. Whether it had any connection with Xinfan Longzang Temple was uncertain. 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!
Introduction to Shaolin Temple's Mixed Yuan Painting Praise Stele
The Shaolin Temple's Three Religious and Nine Stream Mixed Yuan Painting was engraved in the 44th year of Jiajing of Ming Dynasty (AD 1565). It was painted by Zhu Zaiyu, the son of the Ming Dynasty, who claimed to be a "person of the Three Religious Sects" and "crazy immortal". At first glance, this stone tablet looked like a person, but it was actually formed by three people. In the middle, there was a bald man sitting cross-legged. He was Sakyamuni, the founder of Buddhism. On the right, there was a man with a hairpin in his hair. He was standing with his body bent. He was Lao Tzu, the founder of Taoism. On the left, there was a man wearing a Confucian scarf. He was Confucius, the founder of Confucianism. Third Saint was holding a scroll with the Nine Paths Diagram in his hands. From the image of the characters, it reflected the integration of Confucianism, Buddhism and Taoism. There were three circles on the tablet. The small circles symbolized the nine schools of thought in ancient China, namely, Jimo School, Farmer School, Medical School, Famous School, Legalism School, Eclectics School, Yin-Yang School, Political School, and Novelist School. The middle circles symbolized Confucianism, Buddhism, and Taoism. The big circles represented the universe that contained everything. This reflected the exchange and integration of Confucianism, Buddhism, and Taoism in China. It also reflected the idea of the Chinese civilization's internal and external confluence and harmonious harmony. It could also be understood as the world's religion that guided people to be good. The praise on the stele mentioned,"Buddhism reveals one's nature, Taoism saves one's life, Confucianism is wise, and the cardinal guides are correct. Farming is the foundation, Mohism is the world, celebrities are responsible for the actual situation, law is the auxiliary system, vertical and horizontal response, novel consultation, yin and yang conform to heaven, medical is the original person, miscellaneous is also familiar, narrate but not write. The sun, moon, three lights, gold, jade, five grains, body, mind, skin, nose, mouth, eyes and ears, all of them are good and different, but all of them belong to governance. The people are bigoted, the party is the same, and the mother is different. Each has its own way of doing things. The key lies in harmony. The three religions are one, the nine streams are one source, the hundred schools of thought are one, and the ten thousand laws are one. It expressed the idea that the three religions and nine streams of thought were mixed into one, which was in line with the traditional China values of unification.
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.