In the seventeenth year of the Sui Kai Emperor, that is, in 597 AD, a young lady surnamed Dong in the Renshou Palace of Chang'an died of illness here, and the young lady was only 19 years old. His husband Yang Xiu wrote a sincere epitaph for xiang yu's beloved concubine, and used a neat xiao Kai to write a handwritten record, which can be described as a pearl of words and a quintessential word.
The stone stele, titled "Epitaph of Dong Meiren", was buried in Shaanxi with Dong's coffin until it was excavated 200 years ago during the Jiaqing period of the Qing Dynasty. Reading the original text and looking at his elegant calligraphy, everyone should not think that Yang Xiu was a gentle and cheerful literati, and the inscription clearly records that the author was the King of Shu at that time. His father was Yang Jian, the founding emperor of the Sui Dynasty, and his second brother was Yang Guang, the sui emperor.
Yang Xiu is also often a marginalized character in Sui and Tang historical dramas, drowning in symbolic narratives. However, in the history of Chinese calligraphy, Yang Xiu left an immortal "Dong Meiren" for future generations.
Let's enjoy the contents of "Dong Meiren's Epitaph" and appreciate how beautiful Dong Meiren really is:
The beauty surname is Dong, a native of Yiyi County, Bianzhou. His grandfather's name was Dong Fozi, who was the Liangzhou Assassin of the Northern Qi Dynasty, Dun Hou was kind and erudite, and got along well with people, and his reputation was widely spread in the local area. His father was Dong Houjin, a gentleman and hero, and his reputation was widely spread around the Yellow River and The Waters. Dong Meiren has an elegant and beautiful physique, is soft and beautiful in nature, treats the elders very respectfully, is very docile to his relatives, and is very literate in his conversation and composition. Just like the beautiful jade on the steps, the Lan Hui Fangcao in the courtyard, Lai Yi (entering the palace) Yu Lu Hall, and then out of the palace to serve in Liangtai, her rings echo in the Fang Forest, and her clothes shine in the spring light. When she plays the game of throwing pots, she has the cleverness of the flying crane; when she plays chess, she can do the trick of the scarf corner.
Her beautiful face can overwhelm the country, and her feminine smile can be worth thousands of dollars. Her makeup is like a lotus on the pool, and when she looks in the mirror, it is like the moon hanging on the window (all refer to the appearance of her flowers and the moon). Her look is beautiful when she looks back, the fragrance of her skirt is like a breeze, and when she walks, her hair seems to have blown through the flowers, and it is like snow drifting softly (to use the allusion of "Roselle").
She fell ill in February of the seventeenth year of the kai emperor, and died on July 14 at Renshou Palace, only 19 years old at the time of her death. Using the medicines of Shennong and Xi Huang to save her was useless; the elixir of Taishang Laojun was also lacking in skill, and he could only complain to the Daoist priests in the mountains and lament her good years. Suddenly it withered like a flower, which was very sad. On October 12 of that year, she was buried in Longshouyuan, and the grave was very desolate, and she would be lonely at night, and the night would be very long. Bury the admired one in the Nine Springs. Only when I saw her soul when I set up the lamp, I wanted wencheng to do this alchemist, so that I could see her in my dreams, and there was no way. The music rings out, hoping to delight your soul. It was very sad, so I carved this inscription.
After the Goddess of Gao Tang left, the balcony was very desolate here. Flowers in the garden full of herbs, the clouds drifted to the distant sky. The waves at the edge of the Luo Water were too big to alarm Luoshen, and the Lingzhi in qiongtian was still very lush. Sigh at sunset and sigh by the flowing river. The winged bird is going to fly alone, and the concentric people can only sleep alone. The wind swept through the mournful twilight, and the tears on the pillow were as cold as ice. The night is very long and I can't sleep, and there seems to be no spring in the four seasons. The fallen bun was in the coffin, and the eyebrows and dust were growing. It used to be the living who mourned the dead, but now they are the people who have mourned, and they have become the people who have been mourned by others (just like the "Orchid Pavilion Preface" said, "After the present, also the present looks at the past"), the remaining people only leave missed, but can no longer see the object of thought.
Last year, I played the flower terrace, walked with my favorite people, and now the cool autumn night, missing the old joy, can't help but cry wet. Her Yuanshen returned to her original residence, and her fairy bones returned to the Genie. On the road of Huangquan, she clings to the Yang Realm, the poplar trees emit a xiaoxiao cry, the lonely graves are miserable in the silent mountains, the branches of the pine trees are sparse and scattered, sweeping the cool moon like water. Now put this epitaph in a jade box, may her afterglow be perpetuated.
Savoring this zhi, it seems to vaguely see the beauty of Dong Meiren, dignified, generous and radiant. This style is rare in the entire Wei stele system. If compared with Tang Kai's strict law, although it is also a bit skillful and exquisite, it appears more natural, clear, and vivid.
According to the payment, the epitaph was completed and inscribed in October of that year, three months after the death of Dong Meiren. During this period, Yang Xiu pondered day and night, the inscription was repeatedly deliberated, and the font of the writing was also as beautiful and beautiful as Dong Meiren, inadvertently achieving this pioneering Xiaokai classic.
Sui calligraphy, inheriting the Northern Wei calligraphy on the upper and lower Tang Dynasty new style, is the Jinliang between the Southern and Northern Dynasties and the Tang Dynasty. "The Epitaph of the Beauty Dong Clan" just reflects this, which belongs to the top quality masterpiece in the Sui Dynasty epitaph, which can be called the first of the Sui Zhi Xiaokai, and the first of the Tang Dynasty Zhong Shaojing all the way to Xiaokai. Its calligraphy layout is smooth and comfortable, neat and meticulous, the knots are respectful and rigorous, the penmanship is exquisite and subtle, and the elegance is elegant. From the perspective of the font, the kaifa is pure and the intention is exhausted, which is very different from the Jin people Xiaokai and the Northern Dynasty epitaph, but you can see some of the outer circles and gorgeous and firm strokes, giving people a clear and refreshing feeling, and the ancient meaning is not exhausted.
Qing Luo Zhenyu spoke highly of it: "Kaifa to Sui Tang is a great preparation, and in recent times, Sui carved to "Dong Meiren", "Wei Shi Nu", "Zhang Guinan" Three Zhi Shi, especially known as the masterpiece." Zhao Wanli also commented on his calligraphy cloud: "The handwriting is stable and beautiful, and it is the same as the "Gong Yuan" and "Ji Shi" Erzhi as the leader of the Guanzhong Suizhi. ”
Some famous calligraphers of the early Tang Dynasty (such as Ouyang Qing, Yu Shinan, etc.) often took the method from the Sui Dynasty epitaph script. Since the middle of the Qing Dynasty, it has been more loved by the majority of calligraphy lovers and is regarded as one of the models for learning calligraphy.
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