Yan Zhenqing Bamboo Mountain Linked Poem Scroll

Author: Xinglin Editor
Publisher:
Publishing Date: 2006-01-01
Features: "Tushan Linked Poem Scroll," collected by the Palace Museum. Silk pages, each scroll measures 28.2 cm vertically and 13.7 cm horizontally (various sizes), totaling fifteen scrolls. Created in 774 AD, when Yan Zhenqing was 65 years old. According to the appraisal by Song Dynasty's Mi Youren, it is a genuine work by Yan Zhenqing and is recorded in Moyuan Hui Guan. At this time, Yan Zhenqing's calligraphic style in regular script had already been fully developed. The structure is steady and dignified, with deliberate lifting and pressing of the brush, conveying a sense of grandeur and ancient charm. As Zhuyun Tiaba states: [Yan's calligraphy is often powerful and ancient, with the charm of "pinched feet" and "leaky roofs" oftening between the strokes. This scroll stands out with its smoothness and elegance, being one of the most pleasing works of Yan's calligraphy.]
Yan Zhenqing (709–785), styled Qingchen, was from Jingzhao Wannian. His ancestral home was in Tang's Lao'an Linyi (now Linyi, Shandong). He passed the imperial examination during the Kaiyuan era. During the An Lushan Rebellion, for his contributions in resisting the rebels, he was appointed as Minister of Personnel, Grand Tutor of the Crown Prince, and Duke of Lulu, hence also known as Yan Luguang. During Emperor Dezong's reign, when Li Xili rebelled, he prioritized the nation's well-being and personally went to the enemy camp, preaching righteousness, but was ultimately strangled by Li Xili and died at the age of 77. Emperor Dezong issued an edict praising him: "His nature was extraordinary, his loyalty outstanding. He served through four reigns with unwavering integrity." In the history of calligraphy, he is the most accomplished and influential calligrapher after Wang Xizhi and Wang Xianzhi. His early calligraphy was influenced by Zhang Xu and the Four Masters of Early Tang, later drawing widely from various styles, transforming ancient methods to create a distinctive "Yan style" that was square, solemn, robust, and majestic. His influence on later generations was immense. It is said that he left behind 138 calligraphic works. His regular script works include Dabao Ta Stele and Magonxian Tan Ji, which exhibit a highly personal style, described as "Jing Qing gripping a sword, Fan Kuai holding a shield, the Vajra glaring, and the strongman swinging a fist." His cursive and semi-cursive works include Draft of Eulogy for His Nephew, Dispute Seat Scroll, Pi General Scroll, and Self-Composed Imperial Edict, among which Draft of Eulogy for His Nephew reached the highest artistic realm in the midst of extreme grief and anger, earning the title "Second Best Running Script in the World." Mi Fu's Shishu states: The Dispute Seat Scroll has the charm of seal and clerical scripts, being one of Yan's finest works. The characters are interconnected, dynamic and extraordinary, achieved unexpectedly.
Yan Zhenqing was upright, sincere, and righteous, never currying favor with the powerful or submitting to authority. He was renowned for his integrity and heroism. His life of loyalty and bravery elevated his status in the calligraphy world. In his youth, lacking paper and ink, he practiced calligraphy by dipping his brush in yellow earth water and writing on the walls. He initially studied Zhu Suiliang before learning from Zhang Xu, later absorbing the characteristics of the Four Masters of Early Tang, incorporating elements of seal script, clerical script, and Northern Wei calligraphy to forge his own style, reversing the calligraphic trends of Early Tang and transforming lean and hard lines into rich, robust, and majestic forms. His structures were broad and majestic, with strong bone force and a dignified spirit, earning him the name "Yan Style." The "Yan style" secured his immortal legacy in regular script for millennia, making Yan Zhenqing one of China's most influential calligraphers. His "Yan style," paired with Liu Gongquan as "Yan and Liu," is celebrated as "Yan's sinews and Liu's bones."
Tushan Linked Poem Scroll, collected by the Palace Museum. Silk pages, each scroll measures 28.2 cm vertically and 13.7 cm horizontally (various sizes), totaling fifteen scrolls. Created in 774 AD, when Yan Zhenqing was 65 years old. According to the appraisal by Song Dynasty's Mi Youren, it is a genuine work by Yan Zhenqing and is recorded in Moyuan Hui Guan. At this time, Yan Zhenqing's calligraphic style in regular script had already been fully developed. The structure is steady and dignified, with deliberate lifting and pressing of the brush, conveying a sense of grandeur and ancient charm. As Xingyun Tiaba states: [Yan's calligraphy is often powerful and ancient, with the charm of "pinched feet" and "leaky roofs" oftening between the strokes. This scroll stands out with its smoothness and elegance, being one of the most pleasing works of Yan's calligraphy.]