Eulogy for Burying a Crane and the Art of Chinese Calligraphy

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Eulogy for Burying a Crane and the Art of Chinese Calligraphy
In the book Eulogy for Burying a Crane and the Art of Chinese Calligraphy, Lei Xue is keen on explaining various mysterious Chinese calligraphies. The major focus is the stone-engraved inscription, which is now in a museum for the public to see. Although today the inscription at a museum is five pieces behind a glass wall where anyone can see them, they have a deep history and can be misinterpreted without full historical details. A large group of scholars that try to explain the Eulogy for Burying a Crane claim that it originated in the 6th century (Piszczek, 191). However, Lei Xue explains that the inscription was not just about calligraphy. The major intent was to speak out against a community's losses due to persecution. Although Xue goes into great detail about how the inscription came to be, he clearly shows that it was used to send a message.
In the book, Xue begins by describing how individuals have long misinterpreted eulogy. He told a story of a man traveling to southern China and how his encounter after watching two cranes changed many things. The two cranes were dancing in front of the courtyard of the temple, and they really fascinated him, making him purchase them (Donchenko, 171). Xue demonstrates how this could have been a misinterpretation and gives historical facts that are very helpful in helping one understand the eulogy (Xue 9). According to Xue, the two cranes are used symbolically to represent a lot of issues, including political matters.
Additionally, Xue in the book depicts how an inscription that existed in the 6th century continues to hold a lot of meaning today to lovers of calligraphy. The book portrays the inscription as mysterious ancient Chinese artifacts that were primarily used to pass down messages, and the community used this to air their grievances. However, this precious inscription would be forgotten and later on discovered in the 11th century (Donchenko 170). Although it was in a damaged state, it became a great masterpiece of calligraphy in the right hands. It became more than just a eulogy; with time, it has become the basis modernization of calligraphy. Previous epigraphic studies and recent archaeological as stated by Xue, show that calligraphy in China continues to develop, influenced by time passing and various political forces. Xue also points out that eulogy, which had been misinterpreted for the longest time, was a symbolic monument that used "the epitaph" (22). Thus, the book clearly gives insightful data on Chinese calligr...