The Stone Tablet Commemorating the Reconstruction of Nan Gong County School

The Stone Tablet Commemorating the Reconstruction of Nan Gong County School

The Stone Tablet Commemorating the Reconstruction of Nan Gong County School is a cultural relic protected at the Hebei Provincial level.

The Stone Tablet Commemorating the Reconstruction of Nan Gong County School, also known as the "Nan Gong Tablet," was composed and inscribed by Zhang Yuzhao, a renowned literary figure, calligrapher, and educator in the late Qing Dynasty. Carved in the 12th year of the Guangxu reign during the Qing Dynasty (1886 AD), the tablet stands 2.4 meters tall, is 0.89 meters wide, and 0.25 meters thick, and is made from high-quality bluestone. The inscription consists of 13 lines of regular script, totaling 650 characters. The tablet is currently located on the campus of Nan Gong Middle School in Hebei Province, well-preserved, and is recognized as a "Key Cultural Relic Protected by Hebei Province."

Zhang Yuzhao was one of the Eight Great Prose Masters of the Tongcheng School during the Ming and Qing dynasties and a famous calligraphic artist of the Qing Dynasty. His calligraphy style was unique, representing an outstanding creation and development within the art of Northern Stele calligraphy. He left behind many calligraphic works, among which the "Record of the Reconstruction of Nan Gong County School" is a masterpiece showcasing the pinnacle of his artistry, fully reflecting the mature style of Zhang’s calligraphy and holding considerable artistic value. Rubbings of this tablet have been widely circulated both in China and abroad. As a result, later generations often refer to Zhang's calligraphic style as the "Nan Gong Tablet Style."

Zhang Yuzhao's calligraphy drew inspiration from Wei Steles and integrated the strengths of various masters, adopting elements from seal and clerical scripts to innovate while respecting tradition. He created a distinctive style characterized by “roundness within and squareness without.” In his regular script, the starting strokes of horizontal lines are concealed, round, and restrained, while vertical strokes begin squarely and turn with firmness. Horizontal strokes end in curves, and both short and long diagonal strokes display dynamic energy, with long vertical strokes showing a sense of upward thrust. Dots are rendered full and round, turns are square outside yet round inside, long diagonal strokes are pulled with controlled force, and long sweeping strokes taper off gently. Strokes are written using internal pressure with a central tip, and turns often reveal exposed or biased tips. Strokes balance squareness and roundness, transforming the angular into the rounded. The overall structure appears square yet feels round, seemingly combining both while maintaining a bold, vigorous, and upright presence. Kang Youwei, a prominent scholar of the late Qing Dynasty, held Zhang Yuzhao’s calligraphy in the highest esteem, stating that “with the rise of steles from the north and south, Deng Wanbo, Bao Shichen, and Zhang Lianqing dominated the calligraphic world through the ages,” and that “among the four great calligraphers of this dynasty, all achieved mastery by synthesizing ancient styles: Yi Bingshou perfected the model script, Deng Wanbo excelled in clerical script, Liu Shian in model-copy books, and Zhang Lianqing in stele inscriptions.” Kang Youwei further praised Zhang’s calligraphy as “unparalleled in a thousand years.” Zhang Taiyan also spoke highly of Zhang’s calligraphy, regarding it as a treasure of Chinese calligraphic art: “The master’s calligraphy, passed down through the ages, is as precious as a hundred hu of pearls, standing apart from all others.”

The profound thoughts expressed in the “Record of the Reconstruction of Nan Gong County School” still shine with wisdom today. Zhang proposed: “The governance of the world lies in talent, and talent must come from learning,” criticizing the imperial examination system and the rigid eight-legged essay style as having “reached their extreme corruption over hundreds of years.” He called on scholars and students to “hear these words and rise in earnest,” believing that “the transformation of the times and the rise of talent are beyond measure.” His deep respect for knowledge and talent, along with his earnest desire for reform and national strength, permeates every word. Hence, it has been hailed by enthusiasts of epigraphy and calligraphy as a treasured artwork of “dual excellence in text and form,” excelling in both carving and composition.

Rubbings of the “Nan Gong Tablet” have been popular throughout China and even overseas since the 1930s. Calligraphers and collectors in Beijing and Shanghai competed to practice from and collect them, treating them as treasures. Particularly in Japan and Southeast Asia, the Nan Gong Tablet gained fame largely due to the efforts of Miyajima Dairoku, a famous Japanese calligrapher and direct disciple of Zhang Yuzhao. Japan has established a research association for Zhang Yuzhao’s calligraphy and has organized multiple delegations specifically to visit Nan Gong to pay homage to the “Nan Gong Tablet.” The first international symposium on Zhang Yuzhao’s calligraphy was also held in Nan Gong.

Further Reading:

· Second Batch of Hebei Provincial Cultural Relics Protection Units