礼器碑，全称“汉鲁相韩敕造孔庙礼器碑”，又称“修孔子庙器碑”、“韩明府孔子庙碑”等，是中国东汉重要碑刻。东汉永寿二年(156)立。现存山东曲阜孔庙。碑身高1.5米，宽0.73米，四面皆刻有文字。碑阳16行，满行36字，碑阴 3列，列17行；左侧3列，列4行，右侧4列，列4行。碑文记述鲁相韩敕修饰孔庙、增置各种礼器、吏民共同捐资立石以颂其德事。碑侧及碑阴刊刻捐资立石的官吏姓名及钱数。

此碑是汉代隶书的重要代表作之一。《礼器碑》中正典雅，法度森严，飘逸而不失沉着，规整而不失畅快。笔画以瘦硬为主，粗细变化明显，尤其是部分捺画，劲健有力，干脆利落，粗与细之间形成明显反差，平正于外，奇崛于内，体势变化看似平淡，而结体细细推敲却并不简单，布局疏朗，而字字重心稳固，通篇骨力通达，神完气足。碑文字迹清劲秀雅，有一种肃穆而超然的神采。

《礼器碑》历来被推为隶书极则，书风细劲雄健，端严而峻逸，方整秀丽兼而有之。碑之后半部及碑阴是其最精彩部分，艺术价值极高，是汉碑中经典之作，攻汉隶者，多以《礼器》为楷模。

明郭宗昌《金石史》评云：“汉隶当以《孔庙礼器碑》为第一”，“其字画之妙，非笔非手，古雅无前，若得之神功，非由人造，所谓‘星流电转，纤逾植发’尚未足形容也。汉诸碑结体命意，皆可仿佛，独此碑如河汉，可望不可即也。”

清王澍《虚舟题跋》评云：“隶法以汉为奇，每碑各出一奇，莫有同者；而此碑尤为奇绝，瘦劲如铁，变化若龙，一字一奇，不可端倪。”又说，“唯《韩勑》无美不备，以为清超却又遒劲，以为遒劲却又肃括。自有分隶以来，莫有超妙如此碑者。”

清杨守敬也说：“汉隶如《开通褒斜道》、《杨君石门颂》之类，以性情胜者也；《景君》、《鲁峻》、《封龙山》之类，以形质胜者也；兼之者惟推此碑。要而论之，寓奇险于平正，寓疏秀于严密，所以难也。”

 

--------Introduction in English--------

Ritual tablets, known as "Han Lu Xianghuang Han Rong made the ritual tablets of Confucius Temple", also known as "mending the tablets of Confucius Temple" and "Han Ming Fu Confucius Temple tablets", are important inscriptions of the Eastern Han Dynasty in China. Yongshou was founded in the second year of the Eastern Han Dynasty (156). The existing Confucian Temple in Qufu, Shandong Province. The tablet is 1.5 meters tall and 0.73 meters wide, with inscriptions on all sides. There are 16 rows in Beiyang, 36 words in a row, 3 rows in Beiyin, 17 rows in a row, 3 rows on the left, 4 rows in a row, and 4 rows in a row on the right. The inscription describes the decoration of Confucian temples by Lu Xianghuan and Han Rong, the addition of various ceremonial utensils, and the joint contribution of officials and people to build stones to praise their moral deeds. The names and amounts of money of the officials who contributed to the establishment of the stone inscribed on the side of the stele and in the stele.

This tablet is one of the important representative works of Li Shu in Han Dynasty. The Ritual Stele is elegant, rigorous and elegant, elegant but not calm, regular but not unhindered. The strokes are mainly thin and hard, with obvious changes in thickness. Especially part of the strokes are vigorous and vigorous, crisp and sharp. There is a clear contrast between the thickness and the fineness. They are flat outside and strange inside. The changes of the body seem to be insipid, while the structure of the strokes is not simple and the layout is clear. The inscriptions on the tablets are vigorous and elegant, with a solemn and detached look.

The Ritual Inscription Stele has always been regarded as the most elegant book in Li Shu. Its style of writing is vigorous and vigorous, strict and elegant, and it is both beautiful and elegant. The second half of the tablet and the Yin of the tablet are the most splendid parts. They are of great artistic value. They are the classic works in the tablet of the Han Dynasty. Those who attack the Li Dynasty mostly follow the example of Li Qi.

Comments on Ming Guo Zongchang's History of Golden Stones: "Han Li should take Confucian Temple Ritual Stele as the first place", "Its calligraphy and painting is wonderful, not hand-made, ancient and unprecedented, if the god's merit is not by man-made, so-called"star flow electric rotation, fibre over hair transplantation"is not enough to describe it. All the tablets in the Han Dynasty have the same fate as those in the Hehan Dynasty.