Yan tablet, carved in the Tang Dynasty, is named "Tombstone of the Secretary of Emperor Taizong, who once defended the army for the Governor of Langkuizhou in history". The tombstone was written for Yan Zhenqing's great-grandfather Yan when he was 7 1 year old. The ancients called the tomb a way to clear the way and built stone pillars as the standard, which was called Shinto, that is, the tombstone.
The content of the inscription traces back to the achievements of the ancestors of the Yan family and describes the achievements of future generations in the Tang Dynasty. All his books are silent except The Record of Jigu and The Record of the Stone.
"Yan Bei" is engraved on all sides, with male 19 lines and female 20 lines, each with 38 words. There are 5 lines and 37 words on the side of the tablet, accounting for 1667 words. The inscription on the left has been worn out in the Northern Song Dynasty, and there is no date for setting up the monument. Yan's monument shows the tall and straight spirit, while Ma Gu Xian Tan Ji shows the charm of the ethereal cave in Kuanbo, which can be called two peaks.
This monument is a masterpiece of Yan Zhenqing in his later years, and it has completely lost its posture in the early Tang Dynasty. This monument is dignified, broad, smooth, magnificent, with an open skeleton and a square extension. It is very clear in horizontal and vertical thickness, and the brushwork of Fiona Fang's turning point is clear. Because it was buried earlier, less damaged, and has not been carved by later generations, it can accurately reflect Yan Shu's broad, thick, upright and tenacious spirit.
Li Yanqin Monument is one of the representative works of Yan Zhenqing's calligraphy in the most mature period. Its structure is dignified and open-minded, open-minded, dynamic and static, clever and clumsy, elegant and smart. His pen is horizontal and thin, vertical and thick, hiding the head and protecting the tail, and Fiona Fang uses it together, which is vigorous and powerful. Vertical painting takes the trend of "facing each other", the painting is thick and the goose tail is forked, hooked like a bird's mouth, and the momentum between paintings is coherent.
The words in the tablet, the same stippling, have different changes, vivid and rhythmic. This monument emphasizes statutes and rules, and has the spirit of flourishing Tang Dynasty.