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    The art of stone inscriptions and statues of Yuan Dynasty are mainly found around The Flying Hill in Ling Yin Temple. Southeast to Li Gong Pagoda and on the outer wall of Golden Light Cave, there are statues of Buddha Piluzhena, Wenshu and Puxian with solemn looks. Beside Li gong Pagoda is a statue of the Buddha's warrior attendant. He is stout with a big belly, and stands with eyes wide open and feet separated. Surprisingly enough, his martial appearance also carries a look of childishness. There are six stone statues at the entrance of Dragon's Pond Cave, the most delicate ones being the statue of Buddha and that of Kwan-yin. A stone pavilion is built on Lying On Wave Bridge on the Lingyin Brook. Inside the pavilion carved the image of the majestic-looking Duo Wen (multi-eared) God riding the lion, fully armored. The statue of Da Li Ming Wang (the king of great strength) on the polished vertical side of the hill opposite to He Lei (great thunder) pavilion is a typical example of Mizong School of Buddhism in Yuan Dynasty. The main statue wears a coronet on the head and jade on the chest. The looks on his fully grown face are sedate and elegant. He is naked in the upper part of the body but dressed down the waist. The attendants on the sides are also graceful in their postures. The four Buddha's warrior attendants look powerful and forceful. On the mountainside of the Flying Hill is carved a statue of Miliwaba (Buddha' guard). With Jin-Gang (a weapon of India) in the hand, he looks ferocious. Calling Apes Cave has an image of Kwan-yin, who is in a male incarnation, the only one among Hangzhou stone inscriptions. Baocheng Temple on Ziyang Hill keeps a statue of Mahegela with tinge of Tibet Mizhong Buddist School. It is the only one in the country which handed down from Yuan Dynasty, so it is invaluable.
    Calligraphy of Yuan Dynasty continued to develop gradually upon inheritance. Following the calligraphy of Tang Dynasty and later of Jin Dynasty, calligraphers of Yuan Dynasty preferred elegant, vigorous and round styles in writing. Zhao Mengfu of early Yuan Dynasty was generally recognized to be the chief of the time.
    Zhao Mengfu (1254-1322, or Zi'ang or Songxue) was native of Wuxing (the present Huzhou). He was the 11th generation offspring of the founder of Song Dynasty Zhao Kuangying. A faithful admirer of ancient works, he advocated people to imitate two Wang' writings. As a result, the absolute influence of 'letter style's (represented by Su, Huang , Mi and Cai) since Song Dynasty was weakened. Instead, the sedate and modest style of Wang Xizhi was brought to a revival. Zhao Mengfu excelled at regular script and running hand script, smooth and elegant in the move of the character lines. He was one of the 'Four Regular Script Masters's the other three being Yan, Liu and Ou. His masterpieces included Tablet of Danba Rabbi and Epitaph of Chou E, etc. His regular scripts in small characters were vigorous and beautiful, represented by such works as Dao De Jing of Laozi, To Goddes Luo and Ji'an Zhuan. He achieved most with his running hand script that was natural and unrestrained. The masterpieces were Gui Qi Lai Xi Ci, Thirteen Postscripts of Orchid Pavilion and To The Red Cliff. He also left free and lofty cursive script works like Yu Zhong Feng Ming Ben Shu and Correspondence With Xianyu Shu. Wang Shizhen referred to Zhao Mengfu in his Yan Shan Tang Notes as a major calligrapher that had opened a new era in the calligraphy world.

The Red Clothed Arhat, by Zhao Mengfu
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