In winter, the stele forest is sparsely populated, and only a few middle-aged enthusiasts come to watch it. In my concept, stele forest is built on the ancient stele forest and Confucian temple built in the Northern Song Dynasty. Of course, now the Confucian temple in Xi'an has gradually lost its essence, but the architecture still exists, providing space for the stele forest. The museum itself is not large, but it can be said that the garden is full of treasures. The outdoor part is worth appreciating is Daxia Shima and Xuanzong Shitai Xiaojing. Xuanzong's handwriting is full of richness and splendor, and the atmosphere of the prosperous Tang Dynasty is obvious. First of all, two stone inscription halls. General Chen Yi's art studio on the west side can be said to be of great value, mainly gathering mausoleum stone carvings from the Han and Tang Dynasties. The Eastern Han Dynasty was singled out as a part of the Eastern Han Dynasty. The stone carving style of the Eastern Han Dynasty tombs in northern Shaanxi is unique. It is based on the mythological totem of northern China, i.e. the well-known basalt of Qinglong, Baihu and Suzaku. I guess that different combination of gods and animals can deduce the personality characteristics of the tomb owner in his Of course, the highlight lies in the tombs of the Tang Dynasty. The Mausoleums in Xianling Town are of great dignity. The stone panels and epitaphs in Li Shou's tomb are tidy and thick. What attracts the most attention is the six Juns in Zhaoling Tomb in the center of the room. They are of different shapes, vivid and impressive. The Eastern Stone Carving Museum takes "Chang'an Buddhist Rhyme" as its exhibition theme. From the popular four-sided statue tablets in the Northern Dynasty to the magnificent Buddhist sculptures in the Sui and Tang Dynasties, as well as the large Buddha statues represented by the Buddha in the last Northern Friday, all show the religious image of this multicultural center in the interweaving of civilizations. The highlight is the seven exhibition rooms. The first battle is to open the Stone Classic, which is a unique monument, whether as literature or calligraphy proofreading has its extraordinary historical significance. Of course, the most important thing that makes him outstanding in the world is the incomparability of integrity. The area of the first room is the largest, and it is obviously difficult to see it from the beginning to the end. But in the Twelve Classics, there are always some words touching the heart, and Wen Zong's achievements are obvious. The second room and the third room have the most Tang scripts, especially Yan, Liu, Ou's regular scripts and Zhang Xu and Huaishu's cursive scripts. Obviously, Yan Zhenqing's inscriptions are displayed most in the stele forest, with the most weight and the largest time span. It is not difficult to see that Yan Shu tends to be full and plump, while Liu Shu is much thinner, but no matter who Yan Liuou is, he will see the glory of the flourishing age on the paper, which will attract people's aftertaste. I missed another national treasure, the Jing religion of the Great Qin Dynasty, which spread to China. I have not found it many times. Fortunately, I have appreciated photos and duplicates many times, and I feel less sorry. The fourth room is the most exquisite in Song and Yuan Dynasty. The words of Huang Tingjian and Mifu are elegant and vigorous, fresh and heroic, which are my favorite words in the stele forest. Of course, I also saw Zhao Mengfu's character, which has been regarded as "Zu Shang" (self-deceiving). Lin Zhongchong did not choose Zhao Ti's fine works, nor did he see Zhao's elegant and tidy style in his later years. The fifth room is mainly historical tablets. The sixth and seventh rooms are mostly Qing tablets. Emperor Kangxi has hundreds of tablets. He is also famous for his books. Lin Zexu and Zuo Zongtang also have authentic works. The most famous works in the pavilion are Aixin Jueluo Yen Li Wang, whose style of writing is unrestrained and vigorous, and his father's brushwork is profound. There is no unified aesthetic standard for books of calligraphy and painting, and there is nothing we can do without breaking the rules. But in later generations, it is more difficult. Every 4,000 tablets in the stele forest are of high quality and worth reading.