In his view, the extended round pen can be more freely waved, fully expressing the calligrapher's personality. For example, the word "poison" in line 17 is a typical gesture extension expression. Second, the lines are thick and round, and the bones are full of holes, giving people a three-dimensional sense.
The four words "father, yang, fierce, history and light" in "Sacrifice to a Nephew" are unsmiling, which embodies the saying of the ancients that "the face is buried in paper" and is the best understanding and display of "hiding it with concealment and painting it with quietness". Thirdly, the use of seal cutting makes the Draft for Sacrificing a Nephew different from the square head since the Jin and Tang Dynasties, and returns to the simple spirit.
Such as "Yan, Qing, Er"; The emergence of Carey method makes the works interesting again and again, such as Door, Trap and Solitude, etc. The last wave of "Both, Inheritance" takes Carey method. For example, in line 13, the word "fierce" was used to seal the pen, precisely because of its round and vigorous brushwork, which showed Yan Zhenqing's extraordinary artistic skill of running script.
The calligraphy of The Manuscript for Sacrificing a Nephew is elegant, fluent and natural. Thirsty pen dry ink, dry but not moist, capable and smooth, easy to write.
The full text is less than 300 words, only dipped in ink for 7 times, and wrote 53 words in one stroke, leaving an uncontrollable painful track of dry indentation. From Gan Wei to Military Affairs, the ink color changed from thick to light, and the brush strokes changed from thick to thin.
From Zhou Pu to Ji Ming, the second dip in ink, the ink color is also from heavy to light, and the stippling is from coarse to fine, and there are more and more Lian Bi, which reflects the author's exciting emotional changes; Since the beginning of Taste, due to the thinking of the content, there have been more ink dips, alterations and dead pens.
From the word "return", the ink color became thick and moist, and the words "father trapped child died, nest fell to egg" were thick and dark, which fully reflected the calligrapher's pain of losing his loved ones; After the word "regret in the world", with the uncontrollable emotions, the more comfortable and fearless. The cursive brushwork of the two "alas" shows the calligrapher's grief and indignation, which is unspeakable.
The last three lines, like waterfalls and flowing springs, turn sharply and make people memorable. The brush-and-ink effect produced by the interweaving of his emotions made his works reach the peak of art, and the artistic effect of this ink-and-wash painting complemented Yan Zhenqing's grief at that time.
About the author: Yan Zhenqing (709-784), born in Wannian, Jingzhao (now Xi 'an, Shaanxi), was a famous official and calligrapher in the Tang Dynasty. In the twenty-second year of Kaiyuan (734), he was a scholar, successively supervised the imperial history, and served as an imperial consultant in the temple.
They are called "Yan" from officials to officials, princes and county officials. Together with Zhao Mengfu, Liu Gongquan and Ou Yangxun, they are also called "four masters of regular script". Together with Liu Gongquan, they are called "Yan Liu" and "Yangu".
Baidu Encyclopedia-Manuscript for Sacrificing Nephew