Liahe Forest of Stone Tablets

Liahe Forest of Stone Tablets

The Liahe Forest of Stone Tablets is a cultural tourism attraction.

Acclaimed as the “No. 1 Forest of Stone Tablets in China” by Mr. Kong Decheng, the 77th-generation direct descendant of Confucius, China’s Liahe Forest of Stone Tablets is located in Shuangtaizi District, Panjin City. It is a treasure trove that brings together the essence of ancient and modern calligraphy art. It was initiated under the advocacy, planning, and support of master calligraphers led by Mr. Qi Gong, Liu Xingquan, former director of the Panjin Municipal Construction Commission, and other insightful individuals from various sectors. The project was decided upon and constructed by the Panjin Municipal Party Committee and Municipal Government. The first phase was completed in October 1999.

Covering an area of 180,000 square meters with a built-up area of 4,036.86 square meters, China’s Liahe Forest of Stone Tablets houses a vast collection of inscribed stones. These range from pottery symbols of the Neolithic Age to contemporary calligraphy masterpieces, spanning five thousand years of history and covering a vast geographical expanse. With over 2,000 stone tablets, it is the only forest of stone tablets in China that presents an unbroken timeline of calligraphic development. The inscriptions here — including pottery scripts, oracle bone inscriptions, bronze inscriptions, stone drum scripts, silk manuscripts, bamboo slips, Han Dynasty steles, and Wei Dynasty steles — fully demonstrate the evolution of Chinese calligraphic styles since the Han and Wei dynasties. Works by master calligraphers such as the Two Wangs (Wang Xizhi and Wang Xianzhi), Yan Zhenqing, Liu Gongquan, Ouyang Xun, Zhao Mengfu, Su Shi, Huang Tingjian, Mi Fu, Cai Xiang, and others vividly reflect the distinct calligraphic aesthetics of different dynasties: the Jin Dynasty’s emphasis on charm, the Tang Dynasty’s focus on rules, the Song Dynasty’s pursuit of artistic expression, the Yuan and Ming Dynasties’ attention to form, and the Qing Dynasty’s drive for innovation. Meanwhile, works by modern and contemporary calligraphy masters such as Yu Youren, Guo Moruo, and Qi Gong showcase the dedication and hard work of these artists in advancing the art of calligraphy.

Since its completion and opening to the public, China’s Liahe Forest of Stone Tablets has increasingly drawn the attention and admiration of the calligraphy community and the general public, attracting a continuous stream of visitors who come to admire and study the art. Guided by the design philosophy of “using the tablets to highlight the garden, and the garden to complement the tablets,” the Forest of Stone Tablets embodies meticulous craftsmanship where the tablets and landscape enhance each other. All landscape structures feature classical Chinese architectural styles. Its grand entrance archway, consisting of five bays, six pillars, and eleven stories, draws inspiration from the essence of Chinatown archways in the United States and the archways of Beijing’s Lama Temple. It is richly carved and painted, majestic and spectacular in appearance. While emphasizing calligraphy art, the Liahe Forest of Stone Tablets strives to organically integrate calligraphy, sculpture, architecture, and garden design, creating a unique artistic atmosphere that combines high-quality calligraphic works with elegant and classic forest architecture. This approach allows multiple art forms to achieve a realm of innovation through the combination of heritage, appreciation, and research, while also infusing them with the artistic charm of the new era. It stands as a distinctive and grand artistic garden.