Golden Autumn in Xian: A Travel Sketch (1)

樊 灵感清泉

Chapter One: Stone Steles Are Silent, but Civilization Speaks — Random Notes on the Xian Stele Forest (Part 1)

Twenty years ago, in the golden autumn, our group set out on a journey through Shaanxi, Gansu, and Xinjiang, with our first stop being the ancient capital of Xi’an. On a sunny September morning, we entered the renowned Xi’an Stele Forest. What was supposed to be just an ordinary cultural visit turned into an unexpected encounter with a thousand years of history. The Stele Forest is situated in the southeastern corner of Xi'an's Old City, adjacent to the ancient city walls. At the entrance stands a vermilion gatehouse, its plaque bearing the two characters "Stele Forest" in bold, vigorous calligraphy. Stepping inside, the clamor of the bustling streets gradually fades away, giving way to a tranquil courtyard—its floor paved with blue-gray bricks, ancient cypress trees standing tall, and dappled sunlight filtering through their branches. Several elderly visitors stand silently beneath the colonnade, intently studying the steles, as if time itself has slowed its pace here. The air carries the distinctive coolness of stone and an indescribable aura of antiquity, compelling one to quiet the mind and tread softly. Even before entering the first exhibition hall, we sense that this place is unlike an ordinary museum; it feels more like a living, breathing historical site. Sure enough, as soon as I stepped into the exhibition hall, I was immediately immersed in a world of stone steles. The Stele Forest is vast and magnificent, offering a feast for the eyes. From Han-style clerical script to Tang-style regular script, from rustic and austere to strictly formal, the masters Yan, Liu, and Ouyang each left their mark; the millennia-long history of calligraphy seems to have solidified into stone right here. We stood quietly before each stele, our hearts filled with deep reverence for Chinese civilization and the wisdom of our forebears. Yet among the many steles, there was one that kept me standing there for a long time, unable to tear myself away. At the entrance to the Beilin Museum in Xi'an, millennia-old stone carvings quietly await visitors. Take a photo in front of the Beilin Museum to kick off your cultural tour of Xi'an's Beilin [The Classic of Filial Piety of Shitai] （1）

Upon entering the first exhibition hall of the Xi'an Stele Forest, the first thing that greets visitors is the *Stone Platform Classic of Filial Piety*—the "first welcoming stele" of the Xi'an Stele Forest. The stele is massive and imposing; our group instinctively stopped in our tracks and looked up to examine it closely. At that moment, the first thought that came to mind was: This isn’t just a stele—it’s clearly a small building.
The *Shitai Classic of Filial Piety* was carved in the fourth year of the Tianbao era of Emperor Xuanzong of Tang, or 745 AD. The inscription features a preface and commentary written by Emperor Xuanzong (Li Longji) himself, who also personally inscribed the text in clerical script; the sixteen-character inscription on the stele’s header, “Stele of the *Classic of Filial Piety* Annotated by the Holy and Martial Emperor of the Great Tang Kaiyuan and Tianbao Eras,” is traditionally believed to have been inscribed in seal script by the later Emperor Suzong of Tang (Li Heng).
[The Classic of Filial Piety of Shitai] （2）

The value of this stele lies primarily in three aspects:
First, it serves as a valuable testament to the Tang Dynasty’s philosophy of governance. As a Confucian classic, the *Classic of Filial Piety* was annotated by Emperor Xuanzong of Tang himself, who also issued an edict ordering the erection of a stele to commemorate it. This underscores the Tang court’s governing philosophy of upholding family ethics and national order through the principle of “filial piety.”
Second, it is an important physical artifact of imperial calligraphy from the High Tang period. This stele brings together the four calligraphic styles—seal, clerical, regular, and running—on a single stone. In particular, Emperor Xuanzong’s clerical script is dignified and full-bodied, fully embodying the elegant and majestic spirit of High Tang calligraphy. Standing before the stele, I tried tracing the strokes with my fingers. A friend traveling with me laughed and said, “Are you trying to copy the emperor’s calligraphy to take home?” A burst of laughter suddenly made this thousand-year-old stele feel a bit more approachable.
Third, it is an outstanding example of large-scale stele art from the Tang Dynasty. The stele is composed of multiple massive stone blocks, with a grand structure comprising the capstone, body, and base, all elaborately adorned with motifs such as divine dragons, auspicious beasts, cloud patterns, and vine scrolls. With its solemn and majestic appearance, it is one of the most prestigious and uniquely designed imperial steles in the Stele Forest.

[The Classic of Filial Piety of Shitai] （3）

After lingering there for a long while, the tour guide gently reminded us it was time to move on. I turned back for one last look—the strokes of the clerical script were steady and full; though 1,300 years had passed, the ink still seemed to hold its vitality, as if the spirit of the High Tang Dynasty had never faded.

The Inscription on the Headstone of the *Shitai Classic of Filial Piety*. Carved in the fourth year of the Tianbao era (745) during the reign of Emperor Xuanzong of Tang, this stele features a preface and annotations written personally by Emperor Xuanzong (Li Longji), who also inscribed the full text of the *Classic of Filial Piety* in clerical . According to tradition, the inscription on the headstone was written in seal script by Emperor Suzong of Tang (Li Heng). It is the most prestigious and representative imperial stele from the High Tang period in the Xi'an Stele Forest. [Image of the Star of Literature Guiding the Constellations] （1）

In one corner of the exhibition hall stands a stone stele with white characters on a black background. From a distance, the strokes appear bold and dynamic, exuding an imposing presence. Upon closer inspection, the large character “Dou” (斗) on the right immediately catches the eye; the curving, leaping form on the left initially resembles a character written in wild cursive script, but upon closer examination—it turns out to be a ghostly figure with one foot off the ground, holding a vermilion brush. The tour guide prompted, “Can you tell what it is? That’s the ‘Star of Literature Kicking the Dipper.’” Only then did everyone realize what it was. They crowded closer, carefully discerning the figure and expression hidden within the strokes, and couldn’t help but marvel: “The imagination of the ancients is truly breathtaking.”

[Image of the Star of Literature Guiding the Constellations] （2）

This stele was created by Qu Zhongrong of the Qing Dynasty using characters from *Shuowen Jiezi*. It ingeniously combines the strokes of Chinese characters to form the image of "Kuixing Pointing to the Big Dipper," seamlessly blending traditional calligraphic art with ancient celestial culture. In ancient Chinese mythology, the Star of Kui is the celestial deity who governs the rise and fall of literary fortune. Typically depicted as a ghostly figure, he kicks one leg backward in a wide hook resembling the character "Kui," holds a brush in one hand, and a measuring cup in the other. This imagery is known as "Kui Star Pointing to the Dipper," symbolizing flourishing literary success and high achievement in the imperial examinations.

Calligraphy is art, and art is calligraphy. In this museum renowned for its stone inscriptions, this black stone captures the most vibrant side of our ancestors
Explanatory plaque for the "Kuaisheng Pointing at the Big Dipper" character-composition painting: words form a picture, symbolizing prosperity in literary pursuits.

[A stele featuring the character composition "Kuixing Kicking the Dipper." Set against a black background with white characters, the character "Dipper" on the right is bold and striking, while the strokes on the left are curving and dynamic; upon closer inspection, one can discern the figure of Kuixing kicking the Dipper—the characters themselves form a painting, a truly ingenious concept.] [Stele Commemorating the Spread of Nestorian Christianity in China During the Qin Dynasty] (1)

The famous "Stele Commemorating the Spread of Nestorianism in China" stands quietly in the Xi'an Stele Forest Museum. Despite having weathered more than 1,200 years of history, it remains well-preserved, telling future generations a little-known yet true story.
"Da Qin" was the name used in ancient China to refer to the Roman Empire and its eastern territories; "Jingjiao" was the term used during the Tang Dynasty to describe a branch of the Eastern Christian Church. Although it belongs to the same Christian family as Catholicism and Protestantism, which were introduced to China later, it has much older Eastern roots. The character "Jing" (景) conveys the meanings of light and nobility. This stele serves as a historical monument commemorating the introduction and spread of Jingjiao into China along the Silk Road.
This stele was erected in the second year of the Jianzhong era of Emperor Dezong of the Tang Dynasty (781 AD), over 1,200 years ago. The stele is tall and massive, with twin dragons coiling around its capstone, exuding a solemn grandeur that fully embodies the bold and majestic style of Tang Dynasty stone carving art. The inscription, carved in regular script, consists of over 1,700 characters; the lower part of the stele also bears a name inscription in Syriac. The convergence of two scripts and two civilizations on a single stone stele is, in itself, a remarkable chapter in the history of cultural exchange among human civilizations.
[Stele Commemorating the Spread of Nestorian Christianity in China During the Qin Dynasty] (2)

According to the inscription, in the ninth year of the Zhenguan era (635 AD) during the reign of Emperor Taizong of Tang, the Syrian missionary Alopen, having traveled a long and arduous journey from Persia, finally arrived at Chang'an, the capital of the Tang Dynasty. Emperor Taizong attached great importance to this event; he personally ordered his chancellor, Fang Xuanling, to go to the western suburbs to welcome him and arranged for the translation of scriptures. After reviewing and approving the work, the imperial court issued an edict to construct a monastery, thereby allowing Nestorianism to take official root in China.
At that time, Chang’an was one of the world’s most prosperous and open international metropolises. Merchants, envoys, and scholars from Persia, Central Asia, India, and even more distant regions gathered here. People of different ethnicities, cultures, and faiths exchanged ideas and learned from one another, collectively shaping the open and inclusive spirit of the High Tang Dynasty. The spread and development of Nestorianism in Chang’an stands as one of the most vivid historical testaments to the convergence of civilizations along the ancient Silk Road. A thousand years later, the Belt and Road Initiative has revitalized this ancient route, while the spirit of transcending mountains and seas to foster mutual learning among civilizations has long been etched upon this stone stele.

[Stele Commemorating the Spread of Nestorian Christianity in China During the Qin Dynasty] (3)

For scholars of Chinese history, this stele bears witness to the open-mindedness of Tang Dynasty society; for scholars of Sino-Western cultural exchange, it preserves valuable evidence of the encounter between Eastern and Western civilizations. It tells us that as early as more than 1,300 years ago, the Silk Road had already served as a bond connecting Eastern and Western civilizations, demonstrating that civilizations could indeed transcend mountains and seas to engage in mutual respect, exchange, and integration.
Despite a thousand years of wind and rain, the “Stele Inscribed with the History of the Spread of Nestorian Christianity in China” still stands quietly. Though the stone stele is silent, it speaks volumes of history; though time has passed, it cannot erase the deep imprint it bears. It has witnessed the splendor and openness of the Tang Dynasty, as well as the moving journey of different civilizations meeting, engaging in dialogue, and harmoniously coexisting along the Silk Road. Standing before the stele, we feel as though we have traveled back a thousand years to behold that golden age of the Tang Dynasty—a time when nations from all corners of the world paid homage and the empire embraced all cultures with open arms—a legacy that still inspires awe today.

The capstone of the Stele Commemorating the Spread of Nestorian Christianity in China features coiling dragons and exudes an air of solemnity and dignity. The Bi Xi Turtle Base beneath the Nestorian Stele. The Bi Xi resembles a giant turtle and is often used to support important steles, symbolizing stability, longevity, and solemnity.

The Bixi is a mythical creature from traditional Chinese mythology, often used as a base for stele. A large Bixi-shaped tortoise base is on display in the Stone Carving Art Gallery, symbolizing the preservation of history and cultural heritage. Tourists stopped to admire it. Finalized on May 23, 2026