Chapter 33: The Enlightening Teacher of the Secondary Sage of Calligraphy

The little boy, plump and fair-skinned, burst into the hall holding a book. Seeing a guest present, he was momentarily startled, then with a comically precocious air, he bowed to Yan Yuansun and Pei Min, saying, "Greetings, paternal uncle. I was unaware you were entertaining a guest in the hall. To barge in so abruptly is a breach of etiquette."

His formal and deliberate manner greatly astonished Pei Min. The child before him appeared at most four or five years old, perhaps even younger, yet every movement of his was like that of a little adult—his manners were proper and his articulation clear, which was truly remarkable.

Yan Yuansun said, "This is the sixth son of my younger brother, Zhenqing. He has been clever since childhood. At age three, he began studying the books and calculations of the Sexagenary Cycle and the Five Directions, grasping their meanings completely. I hold him in great affection." Turning to the boy, he instructed, "Xianmenzi, withdraw for now. Later, I will explain the doubts you have in your book."

Hearing the four words "sixth son Zhenqing," Pei Min could not help but cast a few extra glances at the child, a smile tugging at the corners of his lips: He was meeting yet another extraordinary figure, even if he was still just a toddler!

Yan Zhenqing, the younger cousin of Yan Gaoqing, was the亞圣 (Sage of Calligraphy) of the calligraphy world, his status second only to the Sage of Calligraphy, Wang Xizhi. The Yan script he created was a mandatory style for thousands of later generations of calligraphy learners. There was even a saying that "to study calligraphy, one must study Yan," and some people even believed that the only reason Yan Zhenqing ranked second to Wang Xizhi was simply because he was born later. Beyond calligraphy, Yan Zhenqing's conduct and integrity were loyal, wise, and peerless under heaven. According to historical records, Yan Zhenqing was the first to discover An Lushan's plot to rebel. Even before the rebellion broke out, he had warned Li Longji, secretly built up city walls, dredged moats, recruited able-bodied men, and stored provisions. Consequently, when An Lushan swept through Hebei, out of twenty-four commanderies in Hebei, only the Pingyuan Commandery governed by Yan Zhenqing was not occupied by An Lushan, becoming the largest thorn in An Lushan's side.

If Yan Gaoqing could be called the finest in governing affairs, then his younger brother Yan Zhenqing was a primeval statesman excelling in both civil and military arts. Militarily, he could deploy troops and command generals; civilly, he could govern and pacify the country. The greatest regret and misfortune was simply that he was not born in the Zhenguan era and did not encounter an enlightened monarch with the grand vision of Li Longji—or rather, Li Shimin. As straight-laced and unyielding as Wei Zheng, his uprightness repeatedly provoked jealousy, ultimately leading to a tragic end where his loyalty consumed his very life, a matter of great sorrow.

In Pei Min's heart, Yan Zhenqing's talent was entirely comparable to that of Di Renjie. Di Renjie's brilliance lay in how exceptionally well he performed regardless of his post, remaining steadfast in his original aspirations even when demoted as the Magistrate of Pengze or Prefect of Fuzhou, mastering every role of magistrate or prefect to perfection. Yan Zhenqing was the same, and perhaps even more unfortunate. He was successively marginalized by four powerful chancellors—Yang Guozhong, Yuan Zai, Yang Yan, and Lu Qi—yet every time he was demoted out of the imperial court, he achieved remarkable accomplishments locally, thereby relying on his governance merits to return to court. Obtaining power through mere political fortune was no true skill; only by withstanding the most dramatic ups and downs could one reveal true capability.

Hearing the subsequent mention of "studying the Sexagenary Cycle and Five Directions at age three," Pei Min could not help but click his tongue in amazement. As the saying goes, what a child is at three he will be at seven. The Sexagenary Cycle and Five Directions textbooks were the introductory primers of this era, equivalent to primary school education in later generations. While ordinary children at age three had yet to be intellectually enlightened, Yan Zhenqing in his toddler state was already engaging with such knowledge. Truly remarkable.

Seeing Yan Yuansun dismiss Yan Zhenqing, Pei Min hurriedly said, "It is a good thing for a child to have a desire for knowledge, and he should be encouraged and commended. Uncle Yan might as well clear up Xianmenzi's doubts first, lest he be kept waiting."

Yan Yuansun nodded and said, "Xianmenzi, tell us what you do not understand."

Yan Zhenqing bowed and asked, " 'A foot of jade is not prized; an inch of time is to be contested.' Uncle, how should this be interpreted?"

Yan Yuansun smiled and said, "This means that precious jasper is not worth cherishing, but even a fleeting moment of time is priceless."

Pei Min smiled and chimed in, "An inch of time is an inch of gold, and an inch of gold cannot buy an inch of time—that is precisely the principle it conveys."

A light dawned in Yan Zhenqing's eyes, and he said joyfully, "This nephew understands now. The sages mean that all treasures are external things not worth pursuing, while the passage of time cannot be recovered. We should all the more do meaningful things within our limited time. Thank you, paternal uncle and paternal elder brother, for your guidance." With that, he took his leave and departed.

Yan Yuansun stroked his beard in praise.

Pei Min looked at Yan Zhenqing and remarked with feigned solemnity, "This child possesses nimble wit and swift comprehension; he will surely achieve great things in the future!"

Yan Yuansun wore a look of complete agreement.

After exchanging everyday pleasantries with Yan Yuansun and Madame Yuan, Pei Min took his leave. Before departing, he reiterated the matters regarding Wang Ju and Lu Qi, reassuring Yan Yuansun that he would certainly see to it that the affair was properly handled.

Stopping Yan Yuansun and Madame Yuan from escorting him any further, Pei Min walked out of the main hall. As he reached the front courtyard, he saw Yan Zhenqing earnestly holding a brush and writing in a corner under the sun, his expression exceptionally solemn.

Pei Min could not help but walk over, seeing Yan Zhenqing practicing his calligraphy against a copybook.

Yan Zhenqing's expression was intensely focused; he was entirely unaware of Pei Min appearing behind him.

Seeing that his strokes were crooked and askew, Pei Min could not help but laugh inwardly: After all, he was still a child, his wrist strength lacked stability, and he was still a hundred thousand miles away from the grace of a Calligraphic Sage. The copybook he was tracing was also quite mediocre, not even the work of a master—which made sense, for who would give expensive master-crafted copybooks to a toddler for practice? Yet even with such an ordinary copybook, Yan Zhenqing was practicing it tirelessly and without weariness.

"Your method of writing is incorrect!" Pei Min was an expert in this field. Yan Zhenqing's grip and brushwork were far too delicate; his early calligraphy enlightenment had apparently come from a woman who was not skilled in the art, imparting an incorrect posture.

Seeing Yan Zhenqing's surprised expression, Pei Min motioned for him to step aside and personally wrote a sheet of calligraphy. Having been friends with He Zhizhang and Zhang Xu, his calligraphy had benefited greatly from their guidance, and his regular script was exceptionally beautiful. Watching it, Yan Zhenqing's eyes shone brightly. Pei Min took the opportunity to explain the basic precautions of calligraphy and casually imparted Wang Xizhi's Eight Principles of the Character "Yong" to him.

Yan Zhenqing listened with utmost care and attention, imprinting every word Pei Min spoke into the depths of his mind. This guidance provided him with immeasurable inspiration.

So much so that in later days, when he had already become a renowned statesman comparable to Fang Xuanling and Di Renjie, as well as the Sage of Calligraphy, Yan Zhenqing could never discuss calligraphy without mentioning Pei Min, whom he regarded as his foundational master of enlightenment.

Having left the Yan residence, Pei Min kept Yan Yuansun's matter in mind and returned to the Censorate. He directly drafted an impeachment memorial accusing Lu Qi of aiming too high, being dissatisfied with the Emperor's rewards and punishments, neglecting his primary duties, and scheming for other ends.

Officials in the Censorate, save for those below the rank of patrolling investigators, all possessed the direct power of impeachment. Their memorial documents could reach the imperial ears directly without requiring approval from the Department of State Affairs. This was also a display of his muscle, signaling to Wang Ju that Yan Yuansun was under his protection and warning him not to harbor any further designs.

Upon stepping out of the Censorate and seeing that the hour was still early, Pei Min returned to his estate, fetched the "Peerless Under Heaven" bestowed by Li Longji, mounted his chestnut horse, and headed toward Heping Lane to seek out the legendary master carver Zheng Yongtai.

The carving profession was an immensely lucrative occupation in the Tang dynasty. This was because, in the history of calligraphy development, Tang calligraphy marked yet another peak following the Jin dynasty. Literati and scholars of this era without exception valued calligraphy; writing a fine hand was the foundation of one's career and standing. Calligraphy flourished to an unprecedented degree, resulting in a continuous stream of master calligraphers. The most renowned among them were the Four Masters of the Early Tang—Yu Shinan, Ouyang Xun, Chu Suiliang, and Xue Ji—while others such as Li Shimin, Zhong Shaojing, Lu Jianzhi, and Wang Zhijing all excelled in the art.

Especially Li Shimin, who, as sovereign of the nation, in order to promote calligraphy, had once issued an imperial decree requiring the sons of capital officials of the fifth rank and above to practice at the Hongwen Pavilion, even specially bringing out his cherished masterpiece, the *Preface to the Orchid Pavilion Gathering*, for people to copy. Under his leadership, the practice of calligraphy swept through Tang society, which in turn propelled the carving industry!

Copybooks were difficult to preserve—a fact known to all. Carving steles thus became the sole alternative, preserving calligraphy on stone tablets so it could be passed down for a millennium. At the same time, rubbings could be taken from these steles to create inked copies for preservation and gifting.

To maintain the pristine authenticity of the brushwork, an outstanding carver was naturally indispensable.

Zheng Yongtai was the cream of the crop in this field, possessing exceptionally exquisite carving skills. Whether it was shadow-tracing onto stone or double-outline tracing onto stone, he had reached a state of breathtaking perfection. Consequently, those seeking him out to carve inscribed boards and steles were as numerous as the carp crossing a river. Precisely because he was in such high demand, he had developed an eccentric temperament: he would carve nothing save master-grade copybooks and engrave nothing save the works of famous masters. Even so, the number of people entreating him to carve remained countless. And even after he had supposedly "sealed his blade," he still could not avoid them.

Pei Min's temperament had always been never to give up until he reached the Yellow River. Since he could engage Zheng Yongtai, the grandmaster of the carving world, he would never settle for a lesser disciple.

Arriving at the Zheng residence, Pei Min knocked on the main gate.

The gatekeeper, seeing Pei Min dressed in the attire of a scholar, said directly, "Is the young master here to invite my master to come out of retirement? If so, please turn back! My eldest young master has a shop in Yongan Lane in the southern city; the young master may go seek him out for carving." The gatekeeper had memorized this rejection speech so thoroughly that he rattled it off without the slightest hesitation, demonstrating just how frequently he had turned people away in the past.

Pei Min was not angered, and instead said, "I am Pei Min, and indeed—"

Before he could finish his sentence, the gatekeeper cried out in startled surprise, "Pei Min? Which Pei Min?"

Pei Min was somewhat puzzled, but nodded with certainty. "In Chang'an, there should only be one person named Pei Min!" The Pei family was a prominent clan, but the surname Pei had never been overly common, and Min was a relatively rare character, making those named Min exceedingly scarce.

Pei Min!

In Chang'an, there was only this one establishment, with no branch elsewhere.

"So it is Vice-Censor Pei, the descent of the literary and martial lucky stars! Please, quickly come in! If my master knew that the Vice-Censor had come in person to pay a visit, he would be overjoyed. Please enter the main hall to wait, and I shall go invite my master to receive you." The gatekeeper's attitude underwent a complete one-eighty-degree transformation, becoming extremely warm and hospitable.

Recalling the inscription on the Wild Goose Pagoda, a sudden wave of understanding washed over Pei Min.

Sitting in the main hall waiting for a moment, a servant brought in tea. Surprisingly, it was his accustomed peppermint-flavored tea. He felt a mild astonishment, realizing that his preference for tea, and specifically peppermint tea, had already spread far and wide.

Rapid footsteps sounded, and an elderly yet robust and vigorous old man strode out from the inner hall. "This humble commoner, Zheng Yongtai, pays respects to Vice-Censor Pei! I have long admired Vice-Censor Pei's great name, especially after witnessing your sword-calligraphy beneath the Wild Goose Pagoda, which struck me as heavenly and divine. For over fifty years, this humble commoner has carved characters with a blade and engraved countless master copybooks, ranging upward from Emperor Taizong, Zhong You, and Wang Xizhi, to downward from Chu Suiliang and Ouyang Xun. Through fifty-odd years of refinement, I fancied my engraving craft peerless. Yet I never imagined that there is a heaven beyond the heavens, nor did I ever think such a style of engraving existed in this world as that of the Vice-Censor."