《蜀丞相诸葛武侯祠堂碑》，唐宪宗元和四年（公元809年）立。碑身及碑帽通高367cm、宽95cm、厚25cm，下有碑座。碑帽的云纹雕饰，具有唐代石刻艺术特点。记者细数碑文共24行，每行约50字。碑文为楷书竖行，有1094字，由曾任监察御史、宰相的裴度所撰，由曾任吏部尚书、兵部尚书，又是著名书法家柳公权之兄的柳公绰所书，当时蜀中名匠鲁建所刻。文章、书法、刻工均为难得精品，所以后人称它为“三绝碑”。碑文内容分序文和铭文，碑文对诸葛亮短暂而悲壮的一生作了重点褒评，竭力赞颂诸葛亮的高风亮节，文治武功，并以此激励唐代的执政者。元和二年（公元807年）成都动乱，唐王朝派相国武元衡出任剑南四川节度使。裴度当时与柳公绰一起在西川节度使武元衡手下任节度判官，裴、柳关系密切，又都敬慕诸葛武侯，遂一文一书，共同写就了中国书法史上的不朽杰作。古人制作石碑有两种方法，一种是书家直接在石碑上创作，由刻工篆刻完成；另一种是摹勒上石，是将文字写在纸上，再在纸背以朱砂等依样勾勒字的轮廓，然后覆于备刻的石头或木头上进行篆刻。“经过考证，当时柳公绰应该是以书丹上石方式，用毛笔直接在石头上写字以备镌刻。他说，丹就是指朱砂。那时制作碑刻都是用朱砂，朱砂是颗粒状，比粉状的墨稳定性强，写在光滑的石上不流、不走样。墨含有油分，遇石收缩，不能保持笔触的原形。另外，碑石一般是灰色或青色，朱砂痕迹明显，便于走刀。杨代欣用手做成握毛笔状，在石碑上演示着说道，当时柳公绰或是站着，或是将石碑放倒，趴在石碑上一气呵成完成了这件作品。石碑上应该是打有暗格，经过长时间风化，如今暗格已辨不清了。制作“三绝碑”的石料也非成都本地石材，而是来自西安的南田石。三绝碑”是成都年代最久远的地面文物。这块石碑历来都被作为重要文物进行保护，《书林藻鉴》曾引评家评此碑的书法：“公绰武侯祠记，如端人正士，笔法遒劲。”明王世贞也说柳公绰“其行笔飘洒雄逸，无拘迫寒窘之态”。宋代大书法家米芾曾说“公绰乃不俗于兄”，对柳公绰书法给予了高度评价。
The Monument to the Ancestral Hall of Zhuge Wu, the prime minister of Shu, was established in the fourth year of Yuanhe (809 A.D.) of Xianzong of Tang Dynasty. The body and cap of the tablet are 367cm high, 95cm wide and 25cm thick, and there is a tablet seat below. The cloud carving of the stele cap has the artistic characteristics of stone carving in the Tang Dynasty. The reporter counted the inscription in 24 lines, each of which was about 50 words. The inscription is in regular script and has 1094 characters. It was written by Pei Du, who was once the chief inspector and prime minister, and by Liu Gongchuo, who was the minister of the Ministry of Civil Affairs and the minister of the Ministry of Military Affairs, and the brother of the famous calligrapher Liu Gongquan. It was carved by Lu Jian, a famous craftsman in Shu at that time. Articles, calligraphy and carving are rare works, so later generations call them “three unique monuments”. The content of the inscription is divided into preface and inscription. The inscription made a key comment on Zhuge Liang’s short and solemn life, and tried to praise Zhuge Liang’s lofty demeanor, political integrity and martial arts, and thus inspired the rulers of the Tang Dynasty. In the second year of Yuanhe (AD 807), Chengdu was in turmoil. The Tang Dynasty sent Wu Yuanheng, the prime minister, to serve as the governor of Jiannan Sichuan. At that time, Pei Du and Liu Gongchuo served as a judge of Jiedu under Wu Yuanheng, the Jiedu envoy in Xichuan. Pei and Liu were closely related and both admired Zhuge Wuhou, so they wrote an immortal masterpiece in the history of Chinese calligraphy. There are two ways for the ancients to make stone tablets. One is that the calligrapher creates directly on the stone tablet, which is completed by the carver; The other is to copy the stone, which is to write the characters on the paper, then outline the characters on the back of the paper with cinnabar and other patterns, and then cover them on the stone or wood to be carved for seal cutting. “After textual research, Liu Gongchuo should have written directly on the stone with a brush in the form of calligraphy and stone for engraving. He said that Dan means cinnabar. At that time, all the steles were made of cinnabar. The cinnabar is granular, which is more stable than the powdery ink. The ink does not flow or go out of shape when written on the smooth stone. The ink contains oil, shrinks when it meets the stone, and cannot maintain the original shape of the strokes. In addition, the steles are generally gray or cyan, and the cinnabar traces are obvious, It is convenient for cutting. Yang Daixin made a brush with his hand and demonstrated on the stone tablet that Liu Gongchuo either stood or put the stone tablet down, lying on the stone tablet and finished the work at one go. The stone tablet should have a dark grid. After a long time of weathering, the dark grid is now indistinct. The stone used to make the “Three Unique Steles” is not local stone in Chengdu, but Nantian stone from Xi’an. The “three unique monuments” are the oldest ground cultural relics in Chengdu. This stone tablet has always been protected as an important cultural relic. “Shulin Zaojian” once quoted critics to comment on the calligraphy of this tablet: “Gongchuo’s memorial of the marquis of Wu, such as a decent man, has strong strokes.” Wang Shizhen of the Ming Dynasty also said that Liu Gongchuo “has elegant and elegant strokes, and is not constrained to be embarrassed by cold.”. Mi Fu, a great calligrapher of the Song Dynasty, once said that “Gongchuo is not inferior to his brother”, and highly praised Liu Gongchuo’s calligraphy.

历史上的今天 ( 33 )：