Xi'an Forest of Stone Steles Museum

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Forest of Stone Steles Museum

Introduction xian4.jpg (18384 bytes)

The Forest of Stone Steles in Xi'an is an art treasure-house with the oldest and richest collection of steles in China. It is not only one of the centers of ancient Chinese stone-engraving classics, but also the focus of the works of art of celebrated calligraphers of past dynasties. The numerous standing steles resemble a forest, hence the name " Forest of Steles"'. With a history of almost 900 years, it is an art gem renowned at home and abroad.

The Forest of Steles is an enlargement to the Confucian Classics stone inscriptions in the Tang Dynasty. Shitai Xiaojing ( stele engraved with the Canon of Filial Piety) and Kaicheng Shijing ( steles engraved with the Confucian Classics) of the Tang Dynasty were originally kept in the Imperial Academy in Wu Ben District of Chang'an, the capital of the Tang Dynasty ( in the vicinity of the present Wen Yi Street, southern Xi'an). Following the devastation in the late Tang Dynasty, Chang'an was rebuilt with its size reduced by the order of Han Jian, magistrate of Chang'an. In 904 AD the engraved Confucian Classics were moved inside the Wen Xuan Temple ( in the vicinity of the present She Hui Street of Xi'an).Due to poor environment, in the second year of Yuan You of the Song Dynasty, ( 1087 AD) on the suggestion of Lu Dazhong, all the Confucian Classics and other valued Tang steles were moved to the present site of the Forest of Steles under the auspices of Li Chi. Thus the foundation of the Forest of Steles was initially laid. With the successive collections of Steles in the Song, Jin, Yuan, Ming and Qing dynasties, it was gradually renovated and expanded, making one feel among a forest of steles. But it was not until the early Qing Dynasty that the name " Forest of Steles" was finally chosen. Based on the design of Liang sicheng, China's well-known architect, the Forest of Steles was extensively renovated in 1937, and was completed in Feb. 1938, looking in the main the way it does today.

In March 1961, the State Council decreed that the Forest of Steles was among the first group of national cultural relics to be given special protection. Now it is an important part of the Shaanxi Provincial Museum. In 1982, the 7th Exhibition Hall of the Forest of Steles was established. Collections of Steles have been increased from 667 in the Qing Dynasty to over 2,000 steles, of which over 1,000 are open to the public. Seven exhibition halls, a pavilion covered with steles and six corridors for keeping epitaphs form a complete architectural complex of a unique style, making the Forest of Steles, a treasure trove of the art of calligraphy look all the more magnificent.

What attracts people most is that the Forest of Steles has gathered the famous works of many outstanding calligraphers handed down from ancient times. Chinese calligraphy has a long history, and in general has evolved from the complex to the simple. It has five basic script forms, namely: seal script, clerical script, regular script, running script and cursive script. Through more than 5,000 years of creative work and development these various forms have constituted the abundant treasure and unique traditions of the art of Chinese calligraphy. For example, the Cao Quan Stele, written in Han clerical script in the 2nd year of Zhongping ( 185 AD) in the Eastern Han Dynasty, is famous for its elegant, ingenious and clear inscription, as well as its completeness.The Tang Dynasty witnessed the prosperous period of our art of calligraphy. Ouyang Xun, Yu Shinan,Zhu Suiliang, Yan Zhenqing and Liu Gongquan developed their own distinctive styles of regular script, while Ouyang Tong, Xu Hao, Shi Weize, Huai Su, Zhang Xu and Li Yangbing were celebrated calligraphers of different script forms. The most distinguished Tang stele is "the Preface to the Holy Buddhist Scriptures" in the handwriting of Wang Xizhi, a famous Jin calligrapher. The valuable poems and works of calligraphy of such famous post-Tang calligraphers as Su Shi, Huang Tingjian, Mi Fei, Zhao Mengfu, Dong Qichang and Zhu Yongming are also collected in the Forest of Steles.

Many inscriptions in the Forest of Steles are of precious historical value, such as the world-famous Nestorian Stele and Monk Bu Kong Stele. Gathered here are also some carved sketches with exquisite and splendid decorative designs, making the Forest of Steles, the art treasure-house, all the more brilliant and well-known far and near.

Shitai Xiaojing of the Tang Dynasty

Shitai Xiaojing ( the Canon of Filial Piety), written in clerical script by Emperor Xuanzong ( Li Longji), was engraved in the 4th year of Tianbao ( 745 AD) of the Tang Dynasty. It is one of the Confucian Classics Expounding Filial piety and the patriarchal clan system of feudal society. The notes and preface to the canon were written by Li Longji himself. The 16 characters " Datang kaiyuan tianbao shengwen shenwu huangdi zhu xiaojing tai" ( Stele of the Notes to the Canon of Filial Piety by His Majesty in Kaiyuan and Tianbao period of the Great Tang Empire) written by Crown Prince Li Heng in seal script were engraved on the top part of the stele. The stele, almost six meters in height, is composed of 35 colossal stones. The two-layered crown at the top is engraved with cloud designs and the three-layered terraces at the bottom are engraved with exquisite designs of tendrils and auspicious animals. The body of the stele, comprised of 4 stone slabs, is magnificent in shape, unique in style and splendid in design. After it was engraved, Shitai Xiaojing was erected in the Imperial Academy in Wu Ben District of Chang'an, and moved first to the western part of Shangshu Sheng ( the Ministry of Writing) in the first year of Tianyou ( 904 AD) in the Tang Dynasty, then to the Forest of Steles in the 2nd year of Yuanyou ( 1087 AD) in the Northern Song Dynasty. The two characters " Bei Lin" ( Forest of Steles) on the lintel of the pavilion is said to be written by Lin Zexu ( a patriotic politician in the late Qing Dynasty.

Kaicheng Shijing of the Tang Dynasty

Engraved in the 2nd year of Kaicheng (837AD) under the reign of Emperor Wenzong of the Tang Dynasty, hence the name . It includes the 12 Confucian Classics which were must books for China's intellectuals in feudal society, namely, the Book of Changes, the Book of Rites, Zuo Qiuming's Commentary on the Spring and Autumn Annals, Gongyang's Commentary on the Spring and Autumn Annals, Guliang's Commentary on the Spring and Autumn Annals, the Canon of Filial Piety, the Analects of Confucius and Erya. 650,252 characters in all were carved in both sides of 114 stone slabs. Because printing was not yet well-developed in the Tang Dynasty, the classics were carved and stored in the Imperial Academy in Wu Ben District of Chang'an, serving as model to prevent errors when scholars studied and copied the classics, as well as for the sake of eternal preservation. In China's history the classics were engraved on steles seven times. Kaicheng Shijing being the most complete and best preserved. They were moved into the Forest of Steles in the 2nd year of Yuanyou ( 1087 AD) in the Northern Song Dynasty. In the Qing Dynasty the Mencius Classic was engraved as a supplement, making a total of 13 classics.

A Glimpse of the Second Exhibition Hall of the Forest of Steles

In the 2nd Exhibition Hall of the Forest of Steles are preserved such main well-known Tang steles as the Huangpu Dan Stele by Ouyang Xun, Master Dao Yin Stele by Ouyang Tong, Stele of the Preface to the Holy Buddhist Scriptures of Tong Zhou by Zhu Suiliang, Stele of the Preface to the Holy Buddhist Scriptures translated by the Great Tang Monk Tripitaka ( Xuan Zang), collected by Monk Huai Ren and written by Wang Xizhi, Steles of the Duo Bao Pagoda and the Yan Family Temple by Yan Zhenqing, Stele of the Xuan Mi Pagoda by Liu Gongquan, and the world-famous Nestorian Stele and Monk Bu Kong Stele.

Huangpu Dan Stele of the Tang Dynasty

Huangpu Dan, a high-ranking bureaucrat in the Sui Dynasty, was killed in a power struggle. This stele was erected in memory of him by his son Huangpu Wuyi in the Wude period ( 618AD- 626 AD) of the Tang Dynasty. The inscription was composed by Yu Zhining and written by Ouyang Xun.

Ouyang Xun ( 557 AD-641 AD) was an outstanding early Tang calligrapher. He first studied the style of Wang Xizhi and Wang Xianzhi. Later with his vigorous handwriting, he himself developed a distinctive style, known as the " Ou style". His handwriting on Huangpu Dan Stele is not only forceful, but also delicate and fluent, demonstrating a fresh and clear-cut composition, a breakthrough go early calligraphers' restrained and rigid style, and a reflection of his own unique style.

Master Dao Yin Stele of the Tang Dynasty

Master Dao Yin, an eminent monk in the Tang Dynasty, originally stayed in Duo Bao Temple, Chengdu, Sichuan Province, and later came to Da Ci'en Temple in Chang'an to help Monk Xuan Zang translate Buddhist scripture. This stele was erected in the 3rd year of Longsuo ( 663 AD) of the Tang Dynasty by Monk Xuan Ning in honor of Master Dao Yin, his teacher. The inscription was composed by Li Yan and written by Ouyang Tong, son of the noted Tang calligrapher Ouyang Xun. Ouyang Tong, whose calligraphy is characterized by vigorous strokes and regular form, has been known with his father as " the senior and junior Ouyang". Few works by Ouyang Tong have been handed down. Besides the Epitaph for Quan Nansheng, this is the only stele that survives in the country, thus making it especially precious.

The top part of the stele is engraved with three Buddhas in relief. The dragon heads are in grand designs.The sides of the stele are engraved with decorative patterns, while those of the base are engraved with figures and legends in sketch in stout and robust lines, rare among the Tang steles.

Stele of the preface to the Holy Buddhist Scriptures of Tong Zhou in the Tang Dynasty

The inscription on this stele was written by the famous early Tang calligrapher Zhu Suiliang ( 596 AD- 658 AD) when he held the post of governor of Tong Zhou ( now Dali County, Shaanxi Province). It includes the preface, composed by Taizong, the second Tang Emperor, to the Buddhist scriptures translated by Xuan Zang, and an account composed by Li Zhi, the crown prince. After Zhu's death, the inscription was carved on a stele in Tong Zhou in the 3rd year of Longsuo ( 663 AD), thus called Tong Zhou Shengjiao.

Zhu Suiliang had an extensive study of literature and history. His calligraphy has been honored as " iron picture and silver strokes". The regular script he wrote in his later years, fluent, vigorous and varied in form, mirrors his person, having a great influence upon the common practice of later calligraphers. He, Ouyang Xun, Yu Shinan and Xue Ji are regarded as the four great early Tang calligraphers.

Da Tang Sanzang Shengjiaoxu Bei

Da Tang Shengjiaoxu Bei ( Stele of the Preface to the Holy Buddhist Translated by the Great Tang Monk Xuan Zang ) was erected in the 3rd year of Xianheng ( 672 AD)during the reign of Gao zong of the Tang Dynasty. Apart from the preface composed by Emperor Taizong ( Li Shimin ) and the account composed by Crown Prince Li Zhi, it includes Xuan Zang's note of thanks and the Xin Jing ( Contemplation Sutra) he translated. The characters on the stele were selected and put together by Monk Huai Ren over a period of 24 years from the surviving works of calligraphy of Wang Xizhi, combining inscription and the characters superbly to bring out the best in each other. It is said that a large sum of gold was offered at that time to buy the characters that were needed, therefore the stele is also called " the stele of one thousand tales of gold", and that a character of Wang Xizhi is worth a thousand tales of gold is on everybody's lips.

Wang Xizhi ( 321 AD-379AD or 303AD-361 AD) from Langya, Linxi, was a well-known calligrapher in the Eastern Jin Dynasty. Having adopted the good points of early calligraphers of different schools and made a thorough study of the forms of characters, he changed the simple style of calligraphy since the Han and Wei Dynasties and evolved his fluent, elegant yet vigorous style, enormously influencing the art of calligraphy of later generations. He is revered as the " sage of calligraphers' in the history of Chinese calligraphy.

The Incomplete Xing Fu Temple Stele of the Tang Dynasty

Ever since the Tang Monk Huai Ren of Yi Fu Temple collected characters in the handwriting of Wang Xizhi for The " Preface to the Holy Buddhist Scripture', 18 persons followed suit. Characters on this stele were collected by Monk Da Ya. Inscribed in the 9th year of Kaiyuan (721 AD) of the Tang Dynasty, it was originally in Xing Fu Temple in Chang'an, hence called " the incomplete stele of Xing Fu Temple". Though incomplete,the graceful, vigorous, well-proportioned and close-knit handwriting is still clear and is highly praised by later generations. The carving of tendrils, birds and figures on the sides of the stele in both relief and sketch is extremely exquisite and lively.

This stele was uncovered in the southern moat of Xi'an during the Wanli period ( 1573-1620 AD) of the Ming Dynasty. Only the lower half of the stele was left, therefore it is commonly called ' the half stele".

Monk Da Zhi Stele of the Tang Dynasty

Monk Da Zhi ( Yi Fu), a representative figure in the prime of the7th generation of Northern Chan sect of Buddhism, lived in Da Ci'en Temple in Chang'an. This stele was erected in memory of him in the 24th year of Kaiyuan ( 736 Ad), whose inscription was composed by Yan Tingzhi and written by Shi Weize, a noted clerical script calligrapher of the Tang Dynasty. Shi Weize's style of clerical script is characterized by close-knit composition and fluent strokes, typical of Tang Clerical script. He, Han Zemu,Cai Youlin and Li Chao are regarded as the four masters of clerical script of the Tang Dynasty.

On both sides of the stele are engraved images of a Buddhisattva, a boy riding a lion and auspicious birds, amid exquisite designs of tendrils. The composition is extremely harmonious and beautiful, showing expert craftsmanship. It is the most outstanding works among Tang tablets with carved designs on the sides.

Duo Bao Pagoda Stele of the Tang Dynasty

Erected in the 11th year of Tianbao ( 752 AD) of the Tang Dynasty , this stele relates the building of the pagoda by Monk Chu Jin of the Tiantai sect of Buddhism, the financial help given by Xuanzong, the condolences on the death and supervision of the funeral arrangements of Chu Jin by Xuanzong's envoy. On the back of the stele is carved the inscription commemorating Chu Jin, composed by Monk Fei Xi of Caotang Temple in the 21st year of Zhenyuan ( 805 AD) of the Tang Dynasty.

The inscription on the obverse side was composed by Cen Xun and written by Yan Zhenqing, while the heading of the stele was written by Xu Hao, well-known calligraphers of the time. Yan Zhenqing was only 44 years old when he inscribed this stele. It is his earliest surviving works and reflects well-knit, neat, elegant and graceful features of his early style, preserving much of the regular script style of the Jin and early Tang Dynasties. This stele, originally in Qianfu Temple in Anding District of Chang'an ( now the western part of Xi'an), was moved to the Forest of Steles in the Song Dynasty.

Zang Huaike Stele of the Tang Dynasty

Zang Huaike ( Zhenjie) was a Tang military official from Dongwan ( now Dongwan County, Guangdong Province), whose biography was not recorded in Liang Tang Shu ( History of the Tang Dynasty.). He was posthumously granted titles for three times up to the title of Master of Writing, thanks to his influential son. The inscription on this stele was both composed and written by Yan Zhenqing. The date was not mentioned, but considering the time of his governorship in Fuzhou, it can be assumed that it was written when he was about 62, around the 4th year of Dali (769 AD).

The refined and powerful handwriting demonstrated the increasingly mature Yan style of calligraphy.

This stele was originally erected in front of the tomb of Zang Huaike in Sanyuan County, Shaanxi Province and moved into the Forest of Steles in 1980.

Yan Qinli Stele of the Tang Dynasty

Yan Qinli was the great grandfather of Yan Zhenqing, the celebrated Tang calligrapher. The inscription on this stele was both composed and written by Yan Zhenqing at the age of 71 in the 4th year of Dali (779 AD) of Tang Dynasty. The handwriting is imposing and vigorous. While many steles inscribed by Yan Zhenqing were worn and torn, this stele alone, being unearthed comparatively late, displays the original flowing and vigorous feature of his calligraphy, becoming the best model for studying the Yan style.Originally the four sides of the stele were all engraved with inscriptions, but the inscription on the left side was effaced during the Yuanyou period of the Song Dynasty. The stele was buried after the Song Dynasty, unearthed in 1922 in the back yard of a warehouse in the former office of a vassal ( present Shehui Road in Xi'an), and moved first to Xincheng, then to the Forest of Steles in 1948.

Yan Family Temple Stele of the Tang Dynasty

Yan Zhenqing( 709 AD-785 AD) styled himself Qingchen. His ancestral home was in Langya ( now Linxi County, Shandong Province), and moved to Wannian in the capital ( present Xi'an, Shaanxi Province) at the time of Yan Zhitui, the family ancestor of the fifth generation. Yan Zhenqing first studies Zhu Suiliang's style, later that of Zhang Xu. By forming his imposing, vigorous and elegant style, he pushed the innovation of calligraphy, which had long been deliberated among the people, to a new height, made tremendous contributions to the development of the art of calligraphy and had a far-reaching influence on later generations.

The inscription on the Yan Family Temple Stele was both composed and written by Yan Zhenqing himself in the first year of Jianzhong ( 780AD) of the Tang Dynasty, with the heading of the stele written by Li Yangbing in seal script. The inscription relates the history and official career of the Yan family and the learning the its descendents. It is the work of Yan Zhenqing when he was 72. The handwriting, characterized by powerful brushwork and grand conception, fully shows his highest attainment in the art of calligraphy. It is the representative work of Yan style and was moved to Forest of Steles in the 7th year of Taiping Xingguo ( 982 AD) of the Northern Song Dynasty.

Sanfen Ji Stele of the Tang Dynasty

A memorial stele erected by Li Jiqing in the 2nd year of Dali ( 767 AD) of the Tang Dynasty after he reburied his three elder brothers. Its contents reflect the feudal society's superstitions about Feng Sui ( geomancy). The inscription was written by Li Yangbing, a noted Tang seal script calligrapher.

Li Yangbing ( Shao Wen) was from Zhao Jun ( now Zhaoxian County, Hebei Province). He carried on the tradition of the Qin seal script style, evolved a distinctive style of his own, and was regarded as the number one seal calligrapher after Li Si ( Prime Minister of the Qin Dynasty and inventor of the small seal script). His works have been revered as " tiger writing-brush" masterpieces.

Daqin Jingjiao Stele of the Tang Dynasty

" Daqin" is the name the ancient China called the Rome Empire, while " Jingjiao" is the Chinese name for Nestorianism ( a sect of Christianity) when it was introduced to China.

Nestorianism was introduced to China in the 9th year of Zhenguan ( 635AD) under the reign of Taizong of the Tang Dynasty. This stele was erected in the 2nd year of Jianzhong (781AD) under the reign of Emperor Dezong. The Story was narrated by the clergyman Jing Jing and written by Lu Xiuyan. It records the creed and rites of Nistorianism and its spread and activities during the 150 years in Tang Dynasty. Also engraved on the stele are records of events in ancient Syrian letters and quite clergymen's autographs. It provides value materials for the study of cultural exchanges between China and foreign countries in ancient times.

It was originally erected in the Nestorian Temple in the Tang Dynasty, but no records exist about when it was buried. In the third year of Tianqi ( 1623) of the Ming Dynasty, it was unearthed and placed in Jin Sheng Temple in the western suburb of Xi'an, arresting the attention of the world. In the 33rd year of Guang Xu ( 1907) of the Qing Dynasty, it was moved to the Forest of Steles.

Monk Bu Kong Stele of the Tang Dynasty

Bu Kong, an eminent monk of the Mi sect of Buddhism in the Tang Dynasty, came from the Western Regions ( today's Xinjiang Uygur Autonomous Region), lived in Daxingshan Temple in Chang'an for preaching the doctrine of the Mi Sect, and translated 77 Mahayana ( the Great Vehicle) Buddhist scriptures, totaling over 120 volumes. His disciple Huiguo introduced in Qinglong Temple the creed of the Mi sect to the Japanese Monk Kukai ( Master Yi Fa ), henceforth the Mi sect becoming wide-spread in Japan.

The inscription on the stele was composed by Yan Ying and written by Xu Hao ( 703 AD-782 AD), a great Tang calligrapher. Xu Hao's calligraphy carried on the tradition of Wang Xizhi and Wang Xianzhi, but had a distinctive style of his own. His calligraphy, plump and vigorous, has the reputation of " sharpness hidden, vigor exuded". The inscription on this stele was his work at the age of 79 ( 782 AD). Few of his works have survived, therefore it is especially precious.

Xuanmi Pagoda Stele of the Tang Dynasty

Erected in the first year of Huichang ( 841 AD) under the reign of Wuzong of the Tang Dynasty, this memorial stele is in honor of Master Da Da of the Anguo Temple in the Tang Dynasty. He enjoyed very high status during the successive reigns of Dezong, Shunzong and Xianzong, because of their belief in Buddhism. The inscription on the stele was composed by Peixiu and written by Liu Gongquan, who also wrote the heading in seal script.

Liu Gongquan ( 778AD-865AD), a noted Tang Calligrapher, came from Huayuan, Jingzhao ( today's Yaoxian County, Shaanxi Province), studied first the style of Wang Xizhi, later that of Yan Zhenqing. Through a comparative study of the characteristics of different schools of calligraphy, he developed a distinctive style of his own, with compact composition and keen brushwork, known as the " Liu style" and has had tremendous influence on later generations.Liu Gongquan was 64 when he inscribed this stele. Neat and delicate, it is an excellent work of calligraphy.

On the back of the stele was carved a receipt of Master Da Da's disciple Zheng Yan when he bought an estate, issued by head of the estate department. It provides historical data for the study of the economy of Tang monasteries.

Yan Zhenqing's manuscript of a letter to Guo Yingyi

Engraved on this tablet is the manuscript of a letter written by Yan Zhenqing to Guo Yingyi. Supervisor of the Right and Governor of Dingxiang, in the 2nd year of Guangde( 764AD) under the reign of Daizong of the Tang Dynasty. In the letter Yan Zhenqing criticized Guo Yingyi should not have broken the rites to fawn on eunuch Yu Chaoen by giving his a better court seat. Therefore it is generally called " letter of controversy over court seats". The letter was written with a daring spirit and vigor, and the skillful movement of his writing-brush seems to reflect the outpouring his emotions. It is one of his three surviving manuscripts and was horizontally carved on the back of Monk Meng Ying's " Chao Gao Sheng Zhuan Xu Stele" ( Stele of the Preface to the Biography of Master Monks) by people in the Song Dynasty. It serves as a model for those who study calligraphy and wish to polish their articles.

The Gallery of Epitaphs of the Northern Wei Dynasty

Extravagant burials and erecting steles in front of tombs were forbidden because of the poverty of the people in the Wei and Jin Dynasties. But to praise the deceased, their relatives put inside the tombs stone tablets with their engraved records, later called epitaphs. Along the six winding corridors of the Forest of Steles are exhibited epitaphs from the Wei to Qing Dynasties, arousing great interest of the visitors.

Here on exhibition are parts of the 290 epitaphs from the Northern Wei, Northern Qi, Northern Zhou and Sui Dynasties, all collected and preserved by Yu Youren. He once complied these epitaphs into a special volume entitled " Yuanyang Qizhi Zhai ( Epitaphs of 7 Couples)", because epitaphs of 7 couples were included. In 1935, he presented these valuable epitaphs to the Forest of Steles for preservation.

The Epitaph of Yuan Zhen of the Northern Wei Dynasty

Yuan Zhen, a member of the imperial clan of the Northern Wei Dynasty, once held the official posts of " general in chief" and " governor of Xiangzhou". He was deposed in the 13th year of Taihe of the Northern Wei Dynasty and imprisoned thereafter. Hence his official position mentioned in the epitaph was very low, different from what was written in historical records. This epitaph was carved in the 20th year of Taihe ( 496 AD) of the Northern Wei Dynasty, and is the earliest square epitaph that has ever been found to this day. The bold, vigorous and elegant handwriting is a masterpiece among the Northern Wei epitaphs and a representative work of calligraphy at the time when clerical script began to give way to regular script. It was unearthed in Luoyang, Henan Province in 1926 and moved to the Forest of Steles in 1935.

The Epitaph of Yuan Hui of the Northern Wei Dynasty

Yuan Hui ( Jing Xi) ( 464AD-519AD) was from Luoyang, Henan Province. He had an extensive knowledge of literature and history, and called together some Confucian Scholars such as Cui Hong to compile " Ke Lu", totaling 270 volumes, recording the history of 14 dynasties from the time of Fu Xi to the Jin Dynasty. He held the official post of Shangshu Zuo Pushe ( supervisor of the left of the master of writing) and was posthumously conferred the title" Shi Chijie Doudu Zhong Wai Zhu Junshi Sikong Fenling Yongzhou Cishi Wenxian"( honorary official titles). This stele was engraved in the 3rd year of Shengui of the Northern Wei Dynasty. The handwriting was robust, simple and well-balanced. However because of stouts of the characters in the first part and thinness of the characters in the second part, it is assumed that it was engraved by two persons. On four sides of the epitaph amid simple and flowing designs of clouds, are engraved in relief lively designs of the "Four Gods" ( vermilion bird, tortoise, blue dragon and white tiger) standing for 4 directions, showing ingenious technique of the artisans. It is an outstanding work among the epitaph designs of the Southern and Northern Dynasty.

Xiping Shijing of the Han Dynasty

In China's feudal society, the Confucian Classics, must books for scholars, were inscribed on steles for many times to serve as models to check the accuracy of hand-written copies. In the 4th year of Xiping ( 175AD) of the Eastern Han dynasty, after checking texts of the Six Classics, Cai Yong and Tang Xidian proposed that the Classics be inscribed on steles. In the 6th year of Guanghe ( 183 AD), the Five Classics ( the Book of Changes, the Book of History, Gongyang's Commentary on the Spring & Autumn Annals, the Book of Rites and the Analects of Confucius.) were inscribed on steles in clerical script by Cai Yong himself, and erected in front of the gate of the imperial Academy in Luoyang, Henan Province, known in history as " Xiping Shijing". This was the first time that the Confucian Classics were engraved on steles. But they were damaged not long after during a war. Only some fragments were occasionally uncovered in the Song Dynasty. This is a fragment of a stele bearing " the Book of Changes".

Cai Yong ( Bai Jie) ( 132AD-192AD), from Chen Liu Yu ( today's Kaifeng, Henan Province), was a celebrated writer and a calligrapher in the Eastern Han Dynasty. His style clerical script is characterized by close-knit composition and changeful form with the commendation that " the strength of the characters is sensible, the writing is spirited."

Cao Quan Stele of the Han Dynasty

Erected in honor of magistrate Cao Quan of Heyang in the 2nd year of Zhongping ( 185 AD)under the reign of the Eastern Han Emperor Lingdi. In the first year of Wanli of the Ming Dynasty, it was unearthed in Cuili Village, Heyang County, Shaanxi Province, and moved first to the Confucian Temple of Heyang County, later to the Forest of Steles in 1956.

Like other Han steles, the calligrapher's name was not mentioned on the stele. The inscription, written in clerical script, is refined in form and neat in structure- a unique style in the Han clerical script. The body of the stele is basically complete and the handwriting clear.It is one of the famed Han steles of calligraphy in China.

The Incomplete stele of Sima Fang of the Jin Dynasty

Unearthed when laying sewer pipes at the crossing of Western Street and Guangji Street in Xi'an in the autumn of 1952. Only the upper part remained, but even that was broken in two. On the top part of the stele was engraved the design of dragons and 15 characters in seal script " Han Gu Sili Xiaowei Jingzhaoyi Simajun Zhi Bei Song" ( stele of Sima, the late Colonel Director of the Retainers and Governor of the Capital). The 8 characters " Jun Weifang Zi Wenyu Henei" ( given name, Fang, adopted name Wenyu, birth place Henei) in the first line of the inscription still remain, but only half of the 9th character " Wen" is left, proving that Sima Fang was from Wanxian County, Heinei ( now the western part of Wenxian County, Henan Province). According to " Jin Shu" ( History of the Jin Dynasty), Sima Fang was the father of Sima Yi. The inscription records his life. The handwriting is powerful yet suave, demonstrating the evolution of Chinese calligraphy from clerical script to regular script. Steles from the Jin Dynasty have rarely been uncovered in Shaanxi thus this stele is a valued piece in the Forest of Steles.

Monk Hui Jian Stele of the Tang Dynasty

Erected in the first year of Yuanhe ( 806AD) under the reign of Emperor Xianzong of the Tang Dynasty, the inscription on the stele records that Monk Hui Jian was the 7th generation ancestor of the Southern Chan sect of Buddhism. He came to Chang'an in the Dali period of the Tang Dynasty, first lived in Huiri Temple, then moved to Zhao Sheng Temple by the edict of the Tang Emperor Daizong, and was honored with the title of " State Teacher". He died at the age of 72 in the 8th year of Zhenyuan ( 792 AD) under the reign of the Tang Emperor Dezong. This stele was erected when his disciple Pu Ji built a stupa for him on the Longshan Plateau. The inscription was composed by Xu Dai and written by the noted Tang calligrapher Sun Cangqi. Sun's calligraphy, imitating that of Wang Xizhi, is suave, flowing and respectable. On the sides of the stele, lively designs of birds, beasts and figures are engraved compactly amid fully blossoming flowers. This stele was unearthed in the western suburb of Xi'an in 1945 and moved to the Forest of Steles in 1949.

The Incomplete Qianziwen of Zhang Xu of the Tang Dynasty

Zhang Xu ( Bai Gao) was from Suzhou, Jiangsu Province( date of birth not clear), held the official post of chief clerk of Jinwu during the reign of Emperor Xuanzong, hence called" Chief Clerk Zhang". He had a good command of regular script, but he was best known for his Kuang( crazy) cursive script. He often wielded his writing-bush to write while drunk. The unpredictable forms of his calligraphy, dashing like a galloping horse, curling like drifting clouds, has an original style. He has also been called" Zhang Dian" ( insane Zhang) because of his unruly character. This stele bears part of his Qian-zi-Wen ( 1000-character article), commonly known as " incomplete Qian-zi-Wen", which was written with great ease and an overpowering air, and developed a school of his own in the art of cursive script. Since the Tang Dynasty, calligraphers, writers, noted Confucian scholars and eminent monks have all praised it highly. Imperial courts of past dynasties and collectors all regarded it as a priceless work of art.

Qin Stele on Yishan

Inscribed by Li Si, Prime Minister of the Qin Dynasty, in the standardized small seal script. After bringing the six former states under centralized control in 221 BC, Qin Shi Huang ( the First Emperor of the Qin Dynasty) made five successive inspection tours of various places. This stele was erected when he climbed Yishan Mountains ( now south-east of Zouxian County, Shandong Province) in the 28th year of his reign ( 219BC) on one of his inspection tours, in praise of his contribution to the abolition of the system of enfeoffment and the establishment of the system of prefectures and counties. The first part totaling 114 characters, is an edict issued by the First Qin Emperor and second part, totaling 79 characters, is an edict issued by the Second Qin Emperor. The original stele was burned down before the Kaiyuan period of the Tang Dynasty. This stele was carved by Zheng Wenbao in the 4th year of Chunhua ( 993AD) of the Song Dynasty according to the copy preserved by Xu Xuan. It is, therefore, a rare art treasure.

Song Stele of Character Components in Seal Script

Written and inscribed by Monk Meng Ying in the 2nd year of Xianping ( 999AD) of the Song Dynasty. He wrote down in seal script the 540 radicals and structural components of Chinese characters from Xu Shen's book " Shuo Wen", annotated them in regular script and wrote a preface which he engraved on this stele together with Guo Zhongshu's answer to his letter. It has been a great help for later generations in their study of the evolution of Chinese characters and seal script. Both Meng Ying and Guo Zhongshu were noted early Song calligraphers.

Daguan Shengzuo Stele of the Song Dynasty

Inscription on this stele was both composed and written by Emperor Huizong ( Zhao Ji) in the 2nd year of Daguan ( 1108 AD) of the Northern Song Dynasty. It records the educational system, length of schooling, school regulations and the criterion for the selection and training of qualified personnel in feudal society.

Zhao Ji ( 1082AD-1135AD), though corrupt and incompetent politically as an emperor, achieved great success in calligraphy and painting. His regular script, thin, graceful but vigorous, has a unique style of its own, known as " Shou Jin ( thin gold) style". This stele was originally kept in Qianxian County, Shaanxi Province, and moved to the Forest of Steles in 1962.

Zhencao Qianziwen of Zhi Yong of the Sui Dynasty

Zhencao Qianziwen ( 1,000-character article in orthodox cursive script) is the work of Monk Zhi Yong from Yongxin Temple, Shanyin ( now Shaoxing, Zhejiang Province). Zhi Yong ( Fa Ji), a grandson of the 7th generation of Wang Xizhi of the Jin Dynasty, was a famed calligrapher during the period of Chen and the Sui Dynasty. Studying the cursive script of Wang Xizhi, he was meticulous in his calligraphy, which was honored as the orthodox school of cursive script. It is said that Zhi Yong wrote over 800 copies of "Zhencao Qianziwen" and distributed them to monasteries in Eastern Zhejiang Province. He often sat in the temple loft writing, and the writing brushes he used up in 30 years filled up five baskets and the tumulus in which he buried those brushes was called" Tuibi Fen"( tumulus of Bald writing-brushes). A great many people came to him to study calligraphy at that time, so the thresholds of his house were often worn down and had to be encased with iron-sheet, hence the name " iron thresholds". Yu Shinan learned calligraphy from him and later influenced the early Tang style of calligraphy. This stele was carved in the 3rd year of Daguan ( 1109 AD) of the Song Dynasty according to Zhi Yong's calligraphy preserved by Mr. Cui in Chang'an, called " Guanzhong Keben" ( stele carved in Central Shaanxi Province). It was originally kept in Yingxiang Guan( a Taoist Temple) in the Western Street of Xi'an and moved to the Forest of Steles in the early Ming period.

Qianziwen by Huai Su of the Tang Dynasty

Qianziwen, composed by court Master of Affairs Zhou Xingci by the order of Emperor Wudi( Xiao Yan) of Liang in the Southern Dynasty, consisted of 1,000 different Chinese characters with 4 characters in each sentence in antithesis and rhyme to make it easy to memorize, and was used as a children's primer. This specimen of Qianziwen by Monk Huai Su, a noted cursive script calligrapher in the Tang Dynasty, is characterized by bold and flowing strokes. It was reproduced by Yu Zijun and placed in the Forest of Steles in the 6th year of Chenghua( 1470AD) of the Ming Dynasty.

Huai Su ( 725AD-785AD), family name Qian, styled name Zang Zhen) became a monk when he was small due to poverty. He was well-known for his " Kuang Cao" ( crazy cursive script). It was said that he used banana leaves as paper to practice calligraphy and often wielded his writing-brush to write when drunk. His calligraphy changes like storms and whirl-winds, yet it observes the law of Chinese writing.

Verse on Visiting Tianguan Mountains by Zhao Mengfu

Zhao Mengfu ( 1254AD-1322AD, styled name Zi Ang, alias Songxue Taoist, alias Shuijinggong Taoist) came from Huzhou ( now Wuxing, Zhejiang Province), and was a famous calligrapher and a painter in the Yuan Dynasty. His calligraphy, steady and fluent, with much strength hidden in its graceful forms, has been known as the " Zhao style". On the stele is engraved the extempore verse which Zhao Mengfu wrote when he climbed Tianguan Mountains ( now Sanfeng Mountains in Guixi County, Jiangxi Province). In the 21st year of the Qing Emperor Kang Xi ( 1682 AD), Deng Lin engraved the verse as well as his postscript on the stele and placed it in the Forest of Steles.

Poem on Seeing off Zhang Sheng from Huiji In Moling Inn

Dong Qichang ( 1555AD-1636AD) ( styled name Xuan Zai, alias Si Bai, alias Xiangguang Lay Buddhist), a famous Ming calligrapher and a painter, was from Huating ( present Songjiang. Shanghai). His calligraphy is characterized by its bold and yet delicate strokes and a lively style. Seeing that there was no Dong Qichang's work of calligraphy in the Forest of Steles, Da Lishan, governor of Shaanxi in the Qing Dynasty, carved on stele his own collection " Poem on Seeing off Zhang Sheng from Huiji in Moling Inn" written by Dong Qichang and placed it in the Forest of Steles.

"Zheng Qi Ge" in the Handwriting of Yu Youren

Yu Youren ( original name Bai Xun, alias Zao Xin, styled name Ran Wong) was from Sanyuan County, Shaanxi Province, born in 1879, took part in the Democratic Revolution in his early years, and died in Taiwan in 1964. He was a contemporary calligrapher of note in our country. In his early years he did intensive research on the steles and blocks of six dynasties and was good at the running and regular scripts. Later he devoted himself to the study of cursive script, collected the best works of cursive script through the ages and compiled the " Standard Cursive Script" ( 1,000-character article).His style of cursive script, an excellent blend of Zhang Cao ( a kind of cursive script, form existing during the period when clerical script began to give way to cursive script), Jin Cao ( a kind cursive script form which evolved from Zhang Cao and regular script) and Kuang Cao ( crazy cursive script), is powerful, marvelous and ever-changing.

" Zheng Qi Ge" ( verse of healthy atmosphere), full of power and grandeur, is his representative work he wrote on his 60th birthday ( 1939). It is therefore extremely valuable.

Picture of Bodhidharma Sailing Eastward

Bodhidharma ( surname Ksatriya) was a prince of Nan Tianzhu (India). He arrived in Guangzhou by sea in the first year of Putong ( 520AD) of Liang in the Southern Dynasties. Emperor Wudi ( Xiao Yan) of Liang sent an envoy to welcome him to Jinling ( now Nanjing) for talks with him about Buddhism. Because of different views, Bodhidharma, according to the legend sailed eastward on a reed to Wei of the Northern Dynasties and lived in the Shaolin Temple of Songshan in Henan, where he sat facing the wall in meditation for 9 years. This picture by Monk Fengdian of the Ming Dynasty depicts how Bodhidharma sailed eastward carrying a pair of straw sandals and standing on a reed. It is drawn in thick lines, brief and lifelike. The carving is vigorous and forceful as well. It is a vivid figure painting.

Eight Scenic Spots in Central Shaanxi

This stele was erected in the 19th year of the Qing Emperor Kangxi ( 1680). The landscapes on it were painted by Zhu Jiyi, and the calligraphy by him too. The heading "Guanzhong Bajing"( Eight Scenic Spots in Central Shaanxi) was written by Feng Xiu in seal script. The surface of the stele was divided into eight sections. In each section there was a free sketch of scenic spot matched by a poem in praise of it. The eight scenic spots in Central Shaanxi are: Morning sun over the cactus ( Huashan Mountains), sunset scene at Lishan ( Lishan Mountains in Lintong County), the snowy willow catkins of the Ba Bridge ( the Ba Bridge), the drinking wine beside Qujiang ( Qujiang Pool), the morning bell of the Wild Goose Pagoda ( the Small Wild Goose Pagoda), the ancient ferry at Xianyang ( the Wei River of Xianyang), fog and mist over Cao Tang ( Caotang Temple of Huxian County) and the eternal snow on Taibai ( the Taibai Mountains). The poems and landscapes form delightful contrasts and outline the land of enchanting beauty in Central Shaanxi.

The Picture of " Kui Star" Formed by Characters

Under the imperial examination system in China's feudal society, successful candidates were chosen according to their examination results of the Five Classics. The one who came first in the examination of each Classic was called " Kui". Many imperial academies in old days built " Kui Star" ( the first star at the tip of the bowl of the Big Dipper, regarded by the ancient Chinese as the God of Literature) towers or pavilions, where the image of the " Kui Star" was modeled for people to worship. This image of the " Kui Star" is formed with eight characters " Zhengxin Xiushen, Keji Fuli" ( restraining oneself, returning to the rites) which was the criterion of accomplishments for Confucian scholars. Its one foot holds the character " Dou" ( big dipper), while the other stands on the character " Ao" ( shark, the ancient Chinese believed it to be the most powerful creature), meaning that only the " Kui Star" with literary success can stand on the head of the shark. The Characters are cleverly put together to form a vivid image of the "Kui Star", showing ingenious craftsmanship. The characters were written by Ma Dezhao, and the picture painted by him too. The stele was erected during the Tongzhi period ( 1862-1874) of the Qing Dynasty.

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