Practical Large Character Manuscript (Yan) - Tang Yan Zhenqing (Self-Composed Notice) Character Selection Book

Author: Jiang Liping Deng Ying
Publisher:
Publish Date: 2002-06-01
Features: In daily life, writing standardized and aesthetically pleasing characters not only facilitates communication and interaction but also often brings people a sense of power and beauty unintentionally. The art of Chinese calligraphy has continued to flourish for thousands of years, remaining radiant, primarily because it combines both aesthetic and practical functions. Even in today's world where hard-tip writing and computer use are widespread, calligraphy still holds an unshakable position. In China, and even in East Asian regions deeply influenced by traditional Chinese culture such as Japan and South Korea, the ability to write well has long been one of the criteria for measuring a person's comprehensive cultural literacy.
Calligraphy refers to the rules of writing Chinese characters in various scripts (including Seal, Clerical, Regular, Running, and Cursive) with a conical brush, as well as a traditional art that emphasizes grip, stroke execution, pen movement, structure, spacing, layout, ink technique, and style. It typically requires a firm grip with an empty palm, coordinated effort of all five fingers, a relaxed and level wrist, and power generated from a suspended position. The strokes should be executed with a central axis, ensuring each stroke reaches its endpoint; the structure must harmonize strokes with each other; the layout and spacing should be varied yet cohesive, with a unified flow that reflects the calligrapher's aesthetic taste and personality.
To help beginners start well, we have compiled this "Practical Large Character Manuscript." We invited calligraphers to select commonly used and particularly outstanding examples from ancient masterpieces, arranging them in the order of strokes and structure for readers to learn progressively. Each example is accompanied by supplementary illustrations showing the stroke execution process, aiding readers in understanding and practice.
This manuscript is selected from Yan Zhenqing's "Self-Composed Announcement," written when he was seventy-one years old. It is the only surviving ink of Yan's posthumous regular script, allowing readers to directly appreciate the authentic style of Yan's characters. Yan Zhenqing, styled Qingchen, was from Xi'an, Shaanxi, with ancestral roots in Linyi, Shandong. He served as the Governor of Pingyuan, Minister of Personnel, and Grand Tutor of the Crown Prince, and was enfeoffed as Duke of Lubei. He died in a rebellion, and both his character and calligraphy were highly regarded.
Yan initially studied under Chu Suiliang, later learning brush techniques from Zhang Xu and incorporating elements of seal script. His regular and running scripts pioneered new styles, with his regular script known as the "Yan Style," often paired with Liu Gongquan's "Yan's sinew and Liu's bone" in comparison. In his early years, Yan's calligraphy featured heavy, deliberate strokes—thin horizontal lines and thick vertical ones—with a "silkworm head and swallow tail" style, expansive structures, and an open atmosphere. In his later years, his brushwork became clearer and more robust, transitioning from angular to rounded forms, with a mature, effortless style, inward-facing structures, and a powerful, majestic aura. His influence on later generations was immense.
The "Self-Composed Announcement" employs both square and round brushwork, with horizontal and vertical strokes starting with a hidden inward angle, concealing the beginning and end. During turns, the brush lifts slightly to adjust the angle, eliminating visible pauses. The sweeping and descending strokes are strong and fluid, without emphasizing the "silkworm head and swallow tail." The dots, hooks, and flicks are executed with various techniques, creating dynamic, harmonious, and round forms, making it highly suitable for beginners to study.