Studies On The Epitaphic Calligraphy

With long history of development and popularity, epitaph is one of important forms of carved stones and has abundant relique. As the rise of the textual research in Qing Dynasty and latter-day, and the more diversification characterized in the unearthed epitaphs, people have been paying more and more attention to them and many experts have agreed that epitaphs are valuable variedly. Merely as to calligraphy, the epitaphic calligraphy is magnificent and has too many beautiful things. A great number of excellent epitaphs have become principal calligraphic models for copy and the headspring of calligraphy copier. Therefore, giving systematic and deep studies on the epitaph calligraphy has been more necessary and become one predominant programme.Exploration from epitaph is a special perspective to investigate development of Chinese calligraphy art. Based on about ten thousand epitaphs presently discovered all around China, spanning from Wei Dynasty to Modern time, these various epitaphs appear to be a full- and novel-positioned history of Chinese calligraphy. The epitaphs excavated in Luoyang rank number one in quantity all through China, with new ones unearthed occasionally, which shows both the realistic conditions on calligraphy study and the continuality and perenniality of future study. The epitaphic calligraphy of North-Wei Dynasty in Luoyang is the most typical and influential among the rest, with an obvious value and significance for study. Not merely compared with those of other regions in China, but with those of different time, they have their unique characteristic and calligraphic value either on their artistic style or historical influence.Having deeply investigated the social and cultural backgrounds of the epitaphs of North-Wei Dynasty in Luoyang, this dissertation holds that these epitaphs mainly originate from the inscriptions of Luoyang during Wei Dynasty governed by CAO's family, the calligraphy of North-Liang, those old well-known families of North Dynasty and the calligraphy spreading from South Dynasty to North Dynasty, among which inheritages within CUI's , LU's families etc., result in the main characters of calligraphic epitaphs of North-Wei Dynasty, and is the central part of Luoyang-Styled calligraphy in North-Wei Dynasty. Meanwhile, the policies advances in North Dynasty, especially the Reformation Movement by Xiaowen Emperor in North-Wei Dynasty, canonizing the Confucius culture, and the prosperity of Buddha culture as well have greatly influences on the calligraphy of North-Wei Dynasty.Besides the significance of calligraphic history, the epitaphic calligraphy of North-Wei in Luoyang contains tremendous artistic values, the most outstanding of which is aesthetically ontological constitution and stylish tendency with its centering on technique or skill. From the external aesthetic style, they can be roughly sorted into sheer and vigorous, mild and plentiful, sleek and powerful, exquisite and earthy, the first two pairs of which are considered typical. While from internal aesthetic conception, the epitaphic calligraphy has been influenced by social concepts and national culture, it is characterized with emphasizing handwriting, strength, elegance and quality as well as literariness, which thoroughly decides the artistic tendency of keeping "quality" as primary character, and integrating both "quality" and "literariness". One point relating to the style of "sheer and vigorous" is the writing and carving of epitaphic calligraphy, and many experts regard that the square handwriting of epitaphic calligraphy is achieved through knife-carving, and the capability of knife-carving directly determines the artistic value of epitaphic calligraphy. This complies with historical truth, which could be proved by means of comparing the writing and inscription. Apart from some aspects of defective technique or skill, or even insufficient understanding of the original writing products, the reason that square writing emerged is the square style of early figures of Buddha, and modesty of northern culture as well.The epitaphic calligraphy has a leading position in the modern Chinese calligraphic history. Having promoted the rise and development of studies on steles or tomb stones in Qing Dynasty, it influences and boosts the appearance of a good number of epitaphic calligraphers with high reputation, which could be borne out by the achievement in the late of Qing Dynasty and the period of the Republic of China. Due to the special style and aesthetic charm and a large quantity of unearthed epitaphs during those periods, they have provided fresh calligraphic resources for modern calligraphers. So many epitaphs unearthed have leaded to the prosperity of epitaphic calligraphy and culture, and the collection, appreciation and study concerning epitaphs have become common practice, which has made epitaphic calligraphy the favor of esquires.Since the study on epitaphic calligraphy is a large enterprise. This dissertation only treats several aspects of epitaphs of North-Wei Dynasty in Luoyang. Other vital content need to be explored in later studies, including the evolvement of styles of epitaphic calligraphy in different periods, the relations between epitaphic calligraphy and other forms of calligraphies, calligraphy of epitaphic cover and identification of epitaphs etc.