Tang Yan Zhenqing's Draft of Eulogy for His Nephew

Author: Qin Qianli (Compiler)
Publisher:
Publication Date: 2004-05-01
Features: The Draft of Eulogy to My Nephew has been passed down in two versions. One is the Draft of Eulogy to My Nephew carved by the Tingyun Pavilion, with three inscriptions by Chen Xuezeng, Chen Shen, and Wen Zhengming, which is the same as that recorded in the Comprehensive Examination of Calligraphy and Painting by Bian Yongyu of the Qing Dynasty. The other is this version. In the Qinghe Painting and Calligraphy Boat by Zhang Chou of the Ming Dynasty, it is stated that the Draft of Eulogy to My Nephew must be the authentic manuscript with the postscript by Zhang Jingyan of Xianyu, which is this very copy. It is written in semi-cursive script, measuring 28.2 cm vertically and 72.3 cm horizontally, with 25 lines and a total of 230 characters. It is a draft eulogy written by Yan Zhenqing for his nephew, Cui Ming, who was brutally killed by the rebel An Lushan. At the time of writing, Yan was in extreme grief, and the draft contains many errors, with frequent corrections and erasures. The work is both profound and severe, or flowing and vigorous, with unrestrained brushwork and extraordinary posture. In the postscript by Zhang Jingyan of the Yuan Dynasty, it is written: [It is believed that an official announcement is not as expressive as a personal letter, and a personal letter is not as expressive as a draft. An official announcement is an official work, though neat, it remains constrained; a personal letter arises from a momentary impulse, thus it can be quite unrestrained. And a draft is written without conscious thought, where the hand and mind are forgotten, and true artistry is revealed here.] The Yuan Dynasty scholar Xian Yu reviewed this piece as [The Second Best Running Script in the World]. In this work, the dry brush and trailing strokes are clearly visible, fully showcasing the beauty of brushwork and its variations, which is invaluable for those practicing semi-cursive script. Yan Zhenqing, styled Qingchen, was from Jingzhao Wannian. During the Kaiyuan era, he passed the imperial examination and served as the Court Attendant in the Secretariat. Due to being excluded by Yang Guozhong, he was appointed as the Governor of Pingyuan. Thus, he is known as Yan of Pingyuan. During the An Lushan Rebellion, he served as the leader of the alliance, gathering two hundred thousand troops to resist the rebels. Later, he entered the capital and rose through the ranks to become the Minister of Personnel, Grand Tutor of the Heir Apparent, and Marquis of Lubei, known as [Yan Luguang]. During the reign of Emperor Dezong, Li Xili rebelled, and Yan was sent to persuade him but was imprisoned and died refusing to surrender. Yan was skilled in regular script and semi-cursive script. In his youth, he was poor and practiced calligraphy by sweeping walls with yellow soil. His calligraphy initially learned from Wang Xizhi’s tradition, then inherited the artistic characteristics of the four masters of early Tang, later acquired the brushwork of Zhang Xu, and also absorbed the styles of folk calligraphers from the Northern and Southern Dynasties. His regular script is dignified and majestic, his running script is vigorous and harmonious, and he pioneered the [Yan style], which, together with Liu Gongquan, was known as [Yan and Liu], becoming a transformative figure in the history of calligraphy. His extant steles include the Stele of the Treasure Pagoda, the Stele of Diligent Ritual, and the Record of the Immortal Platform of Ma Gu. His calligraphic works include the Self-Composed Imperial Edict, the Draft of Eulogy to My Nephew, the Letter to Liu the Middle Attendant, and the Letter from Huizhou.