Wei Bei's subordinate statue reporters include: the cow statue of Changle Mu's wife Wei Chi and the Buddha statue of Zhang Yuanzu. Bi Qiuhui became the secretariat of Luozhou. A detailed statue of Wang Yuan in Beihai was recorded. The statue of Sun Qiusheng was recorded. The statue of Yang Dayan was recorded. The statue of King Anding was recorded. Kang Youwei said: "The Longmen Statue is self-contained and similar in image. They are all magnificent, magnificent and extremely frustrated. Fang Bi is also extremely orbital. " He also divided his calligraphy style into four parts: "Yang Dayan, Guangxi, Taoism, Sun Qiusheng and Zheng Changyou, which are composed of clumsy fire and fortitude;" Changle Wang, Guang, Tai Fei Hou and Gao Qiu are a whole; Xie Boda, king of Qi County, combines hard bones with strange gas; Cixiang, King Anding and Party Army Qi Wei are all one family "(On Ducks and Ducks, Volume 19). Although this statue was not written by one person, its style and characteristics reflect the aesthetic fashion and pursuit of that era.
During the Northern Wei Dynasty, the sculpture and stone carving industry was extremely developed, which can be seen from more than 2,000 statues left over from the Northern Wei Dynasty 100 years. Among these more than 2,000 statues, many are quite different from the Twenty Products of Longmen, and some are similar to the calligraphy of Jin and Tang Dynasties. It can be seen that most of the statues are carved by Han people. From the fact that most of the "Longmen Twenty Products" are statues of Xianbei nobles, it can be seen that sculptors are favored by nobles and outstanding in the industry. It is unknown who wrote this book, whether it was carved by hand or in cooperation with calligraphers in the industry. But the creations carved in it are obvious: angular and resolute brushstrokes are carved by iron blades without modification. These rough lines carved by biting the crotch have the spirit of nomadic people and reflect the aesthetic fashion of the times. The creation of these little-known seal engravers has written a magnificent page in the history of calligraphy in China and brought infinite vitality to the art of calligraphy. The inscriptions in Weibei include: Song Zhongyue Gaoling Temple Monument, Zhang Menglong Monument, Gaoqing Monument, Huifu Temple Monument, South Cave Temple Monument, Zheng Wengong Monument, South Cave Temple Monument. The Northern Dynasties broke all the rules of the Western Jin Dynasty, not only set up monuments, but also did not have font specifications, so the inscription calligraphy was rich and colorful.
In the Northern Dynasties, except for the Guangwu General Monument, the Juqu Anzhou Statue Monument and the Xiyue Huashan Temple Monument, all of them were regular script monuments. The famous monuments are Zhang Menglong, Daye Kazuki Watanabe musician Temple, Zhongyue Lettuce Gaoling Temple, Huifu Temple, Diaobi Dry Monument, Gaoqing Monument, Zhang Menglong Monument, Jia Sibo Monument, GenMarco Monument, Gaozhen Monument and Yuanfen Monument. Kang Youwei said: "Zhang Menglong is still the gift of the Zhou Dynasty, and everything is beautiful and good", "exquisite structure, unprovoked transformation" and "a pervert". Wei Bei's epitaph includes Yuan Zhen's epitaph Diao Zun's epitaph Cui's epitaph Diao Bigan's epitaph Sima Jing and his wife Huangfu's epitaph Sun's epitaph Zhang Hei's epitaph Yuan Lue's epitaph Yuan Huai's epitaph Yuan Shou 'an's wife Shi's epitaph Mu Yurong's epitaph Gu Cheng Yang Kangshoufei's epitaph Sima Xianzi's epitaph Yuan later developed into a diversified and exquisite stone carving category. The epitaphs unearthed in the Northern Wei Dynasty amounted to 200-300 square meters, most of which were exquisite regular script. Among them, the famous epitaph is Zhang Hei Nv, Yuan Xianjuan, Huangfu Zhuan, Diao Zunzhi, Cui, Shiwan, Li Bikan and Ju. The epitaph of the Northern Wei Dynasty is dominated by the royal aristocrats of the Yuan and Wei Dynasties. Most calligraphers were famous at that time, and seal engravers were not equal. So calligraphy is characterized by exquisiteness and preciseness. If the statue reflects the face of folk calligraphy, then the epitaph represented by the nobles in Yuanshi County reflects the face of calligraphy of the upper nobility. Looking at the two, we can see the beauty of calligraphy in northern Guangxi.
Epitaph calligraphy is different from the typical "Longmen 20" of the statue, which embodies the face of regular script in Wei and Jin Dynasties, and is more standardized, with calligraphers' cautious and respectful expressions between the lines. Its similarity with the epitaphs of the Southern Dynasties and Tang Kai reveals the news of the development and evolution of regular script. Cliff is another wonder of calligraphy in the Northern Dynasties, and the book traces carved on cliff rocks are called "Cliff". Among them, Shimen Ming, Carving Stones in Yunfeng Mountain and Diamond Sutra in Taishan Mountain Valley are famous.
"Shimen Ming" was written by Wang Yuan, with wide strokes, strange structure and flying words. Kang Youwei listed it as a sacred product in "Guangyi Two Ships" and praised his calligraphy "If Qiongdao scatters fairy tales, Luan crosses cranes".
There are more than 40 kinds of stone carvings in Yunfeng Mountain, which are distributed in Tianzhu (Pingdu), Yunfeng and Taiji (Yexian) in Shandong Province. Among them, Zheng Wengong tablet, general history of Guan Hai, history of classics and books, and inscriptions on Tianzhu Mountain are the most famous. According to legend, these stone carvings were written by Zheng Daozhao with vigorous brushwork, square strokes and elegant structure, "the land of clouds, cranes and seagulls". Stone carvings have different styles, and Zheng stele is rigorous; On the dissipation and ups and downs of Confucian classic poems: all the inscriptions are magnificent and dense, or thin and vigorous, which are consistent with the contents of the book, and full of the interest of "Gong Zheng arrived by smoke and the Taoist returned from the summer vacation". "Zheng Wengong Monument" was signed after Ruan Yuan personally copied and revised it into Zheng Daozhao's work. Before the Qing Dynasty, no one cared about Zheng Wengong going to the North, but Zhao Mingcheng (Mrs. Li Qingzhao), a epigraphist in the Northern Song Dynasty, recorded the stone carvings of Zheng Daozhao's father and son in his authoritative book Jin Shilu. In the Qing Dynasty, the proposition of respecting steles, preparing for Wei, taking Sui and modest Tang broke through the situation that calligraphy research dominated the whole country, so Shangbei was respected, which was the most respected among many steles in the Northern Dynasties. In the Qing Dynasty, Bao said that this tablet has the characteristics of seal script, rhyme and grass, and it is "like a cloud crane and a seagull", which is one of the representative works of Weibei calligraphy art. Bao said: "There are many tablets in Weibei, and Zheng Wengong characters are absolutely true, and seal script rhyme is full of them. Iben Ying, a native of Shiben Valley, Hua Cuo, is of the same origin as grass, so it is called Cao Chuan. People who say nothing are close to each other. " It's Wen Zhen Yuan Qi Ye Zhen. Kang Youwei said after reading the Zheng Wengong Monument that people who have never seen this monument are not qualified to talk about calligraphy. In the Qing Dynasty, it became a rare treasure in Wei Bei.
Zheng's "Up and Down Monuments on Yunfeng Mountain" and "Poems on Classics" are engraved with seal characters, which turn the blue rays of the northern part into civilization and have strong brushwork, and can fight rhinoceroses and dragons and snakes. And the blade is empty, it's all luck. In the early Tang Dynasty, the schools of Ou Yu, Chu and Xue were all shrouded. Not only did the books of the Northern Dynasties take the lead, but they were all exclusive since their original editions. The world is famous, calling the right army a book saint. In fact, there is no visible monument to the right army, only the preface to Lanting Collection is praised by Xu Heng, not a true scholar. My name is Zheng Daozhao, a saint in the book.
The Diamond Sutra of Taishan Mountain Valley, Manjusri Prajna Sutra of Buffalo Mountain and Ode to the Carved Sutra of Kuang Zhe (Catalogue 78.79) are different in taste from the stone carvings of Yihe Ming and Yunfeng Mountain, and can be said to be representatives of Buddhist writings. The Diamond Sutra, in particular, is plump with a pen, with a broad ending, simple and quiet, full of grace and generosity.
Kang Youwei made a wonderful summary of the artistic characteristics of stone carving calligraphy in the Northern Dynasties, which has ten beauties: "First, it is bold and vigorous;" Second, the weather is muddy; Three jumps in brushwork; Fourth, the stippling is thick and thick; Fifth, the meaning is strange and easy; Sixth, the spirit is flying; Seventh, full of interest; Eight, Gufada point; Nine said that the structure is natural; Ten are rich in flesh and blood. " He praised the North Monument as "the ultimate rule for calligraphers to prepare all the beauties, connect the past and the present, and change extremely", and said: "If you choose one, you will be mature, and if you combine all the families, you will be all the beauties" (Guang Yi Zhou Shuang). The practice of Qing people proved that what Kang said was true.
There were also Confucian classics in the Northern Dynasty, which shows the evolution of the style of Confucian classics and its consistency with the Southern Dynasty. "Longmen Twenty Products" refers to the twenty statues of the Northern Wei Dynasty found in Longmen Grottoes. These works are considered as the representative works of Weibei calligraphy. In the Qing Dynasty, Kang Youwei first put forward the title of Longmen Twenty Products in Guang Yi Zhou Shuang Tan: the inscription after Biqiuhui's death.
Inscription on the statue of Xue Fashao collected by Ling Wei
Inscriptions on 200 statues including Sun Qiusheng and Liu Qizu.
Inscription of Emperor Xiaowen of Yang Dayan
Mrs. Wei Chi, wife of Mu Liangliang, Wang Taiwei of Changle, wrote an inscription for the statue of a dead cow.
Inscription for the Buddha statue of the late husband Zhang Yuanzu
Inscription of the statue of Wang Yuanxiang in Beihai
Inscription of Sima Jie Boda statue
Inscription of Beihai Gao's Sun Baoxiang
The inscriptions on the statue of Yunyang are Chang phthalein, the deceased parents, etc.
Shu Gao's inscription on the statue of the 30-year-old Duke of Porto
Inscription on the statue of a monk's late parents.
The inscription on the statue of Guang Chuan's grandmother Princess Tai is her late husband Helan Khan.
The other 30 people wrote inscriptions for the statue of Emperor Ma Su.
The inscription on the statue of Guang Chuan's grandmother.
Inscription on the statue of mother and son of Beihai King born by monks for Emperor Xiaowen.
The inscriptions on the statue of King Anding are dead ancestors, etc.
Inscription on the statue of Yuan You, King of Qi.
The inscription on the statue of the monk's kindness, inspiration and wisdom
The inscription on the statue of a Taoist priest
There are thousands of statues in Longmen Grottoes, among which the most outstanding works are spread as "four products", "ten products", "twenty-four products" and "thirty products". For example, the first four statues listed above, the inscriptions on statues after the death of father, the inscriptions on statues of Xue Fashao, the inscriptions on statues of Sun Qiusheng and Liu Qizu, are the inscriptions on statues of Emperor Xiaowen, which are collectively called "Longmen Four Products". Zhang Menglong stone tablet is also highly respected by calligraphers. Yang Shoujing, a scholar in the Qing Dynasty, commented: "Calligraphy is chic and ancient, and the odd and the right blend together. Those who are higher than the Tang people in the six generations take this as the reason. " It is considered that the achievement of this Weibei work is higher than that of the Tang Dynasty. Zhao Han, a epigraphist in the Ming Dynasty, pointed out: "Books are healthy and open the door to Europe and danger." Ou Yangxun and Yu Shinan, calligraphers in the Tang Dynasty, were deeply influenced by this monument.