Take the multi-pagoda as an example, the pen is horizontal and vertical, with moderate thickness, rigorous and balanced structure, graceful fonts and gorgeous colors in Jun Fang. The left and right vertical lines of each word are folded in reverse (). "Praise of Oriental Plastic Painting" and "The Story of Fairy Jade Leaving Piles" written at the age of 55 are not far from the multi-pagodas in terms of pen structure and charm. The characteristics of calligraphy in this period are just as Song Sushi said: "Lu wrote a tablet, but praised the oriental plastic painting as a hero of the Qing Dynasty, with a horizontal character without losing Qingyuan." Later, when I saw that my books were few, I knew that the word Lu Gong was in the books. Although the size is stable, the charm is good. " It is also said that Yan Zhenqing was greatly influenced by Chu Suiliang during this period, and his writing style was mostly public law, and his own characteristics were not obvious. To be honest, this evaluation is very appropriate. During this period, while following the calligraphy style of Jin and Tang Dynasties, Yan Zhenqing also explored the road of reform, which laid a solid foundation for the future use of ancient brush and grass seal.
After his fifties, Yan Zhenqing's calligraphy began to change. At the age of 56, Yan Jiamiao North was the starting point of reform, and his brushwork began to change into seal script. Qing Jin was thin and hard, north, written at the age of 60, with light horizontal and heavy vertical, and turning folds at the turning point. The opposite left and right vertical lines in a word change from being opposite to being solitary (()). By learning from the development of foreign countries, it has formed its own style and characteristics. Written at the age of sixty-three, The Story of Magu Fairy Altar in Big Characters is characterized by melting and casting seal characters, and the horns and wings are constantly turned over and freshly folded. Shapes are fully supported and rules have been shortened. At the age of seventy-two, the Yan Jia Temple Monument and the self-incrimination book are even more majestic and majestic. At this time, his calligraphy was completely mature and perfect.
To sum up, Yan Shu outlined. His calligraphy gives people the impression that it is majestic, open-minded, solemn, open-minded, graceful and restrained, generous, bold, majestic, muscular, rigid and soft, with dense outside and sparse inside, which is full of Gu Zhuo's greatness and awe-inspiring. In the process of studying Yan, I once recited a sentence characterized by "Yan Shu changed into Jin and Tang Dynasties, the latitude and longitude were divided into yin and yang, the body was vigorous and open-minded, the gas was heavy and light, the structure was fully supported, the sword was drawn, sweet and vulgar, old and dignified". Generally speaking, Yan Zhenqing has made many breakthroughs in traditional calligraphy since the Jin and Tang Dynasties, and he has sprung up suddenly, sweeping away the charm of Jiangzuo since the 25th. Specifically, when using a pen, it breaks the folding and holding power, twists and turns again; Take the law, break the law, seal into Xi; Break the inside of the structure and take the external extension; Break the routine and follow the rules in form; In terms of gaining power, the flattery of the broken side is round and round, and the tolerance becomes rich and full; In the verve, the broken body is a typical example of beauty, and the solemnity contains freedom and satisfaction. Therefore, later generations said that he was another great calligrapher after the Great King.
Third, the main points of learning beauty
Because of Yan Zhenqing's outstanding achievements in calligraphy art, it has a great influence on later generations. In the Tang Dynasty, Liu Gongquan learned from Yan, made innovations and became a great person. Most calligraphers in Song Dynasty also wrote Yan Shu. Such as Su Shi, Huang Tingjian and Cai Yong all benefited from Yan Zi. Although Amy didn't learn Yan in her early years, she admired him later. Qian Nanyuan, He and Weng Tonghe all did a lot of work in Yan Zi in Qing Dynasty. The preciseness of money, the beauty of He Deyan and the massiness of Weng Deyan all absorbed the benefits of Yan Zi's nutrition.
It is very important to learn calligraphy with a pen; Xuan He Shu Pu commented on Yan Zi: "Points are like falling rocks, paintings are like Xia Yun, hooks are like bent iron, and bends are like crossbows, which are ever-changing and integrated." This is a pen that draws the word Yan. Here I will talk about the main points of learning Yan, and also focus on my humble opinion from this aspect.
1, pay attention to stippling. Concentrate on the tip of the pen, go in and out according to the routine, bow your head, and make the point like falling rocks, cross like a cone and draw sand, and stand like a leak. Squatting down a stone is a close call and magnificent; Tapered sand knife carving stone crack, vertical and horizontal hidden machine; Leak marks are tortuous, flowing, natural as a pen, full of strength with a pen, gloomy and dignified, looking down from above. When the boulder falls, it looks magnificent; When writing a horizontal line, you should write it backwards, then press it and put it in, such as the stagnation of a horse, such as the traces of stone and jade carved by a knife, so as to straighten your strength; Write vertically to grab the pen and build a front; After squatting, you stand out, be brave and be good at fighting, or show or shrink, or hang a needle, all of which are winding and magnificent, and other strokes of Yan are solid, heavy and full of strength. For example, it is a three-fold knife that squats and then closes, and the front is like a bird's claw; Skimming is lying pen disease, shaped like a sword; Ge has a uniform curvature and looks like a crossbow; Hook is to squat and then turn around, but tend to hold the belly, like kicking something in front. He turns the corner with his pen and leans back, which can be Qi Li. Scholars can learn from it and make progress.
2. Master the arc potential. Yan Zi's stippling, pen and pen are all three folds and three turns, and none of them are straight. Even if it is a point or a hook, its arc potential or back always stays in the brushwork, horizontal but not stiff, vertical and vigorous but not vertical, the words drawn obliquely are clear at a glance, and the words drawn horizontally and vertically are clear behind them. Therefore, Yan's figure's posture is either bold or graceful, seemingly plump and round, full of words, interlaced with yin and yang, tense, tight outside and loose inside, with rich connotations. As long as scholars carefully ponder the arc potential and work hard, they will certainly receive great benefits.
3. Legal inference. Ou Yangxun, Yu Shinan, Chu Suiliang, Xue Ji and others made great achievements in calligraphy in the early Tang Dynasty. However, due to the influence of traditional calligraphy style, they still used internal calligraphy to write books. Therefore, it will inevitably reveal the sideways posture, maturity and verve style of the Southern Dynasties from time to time. Only Chu Suiliang formed his own style by dividing into blocks, and because of the internal calligraphy, the traces will be relatively flat and thin, so it is difficult to get rid of Wang Xizhi's tight-fitting spirit. However, Yan Zhenqing's use of seal script in regular script will definitely change his method, which is the root of Yan Shu's change from grass to grass. The seal script in regular script adds Yan Shu's stony style and looks old and spicy. The expansion method was adopted to make Yanzi's architecture magnificent. Therefore, the study of Yan Shu should be combined with the study of Jin Shu, Wen Shu, Shi Gu and Han Liwei Bei, and learn from the strengths of various schools, while Fang Youqing hopes to excel in Lan.
As the ancients said, the heart is right and the pen is right, and the words are like people. Song Cen Zongdan's book review said: "I am sincere and sincere, so I am as heavy as a frequency." He compared Yan Zhenqing with his upright and upright attitude by using the historical achievement of frequency to pacify the rebellion of Zhu Lu and stabilize the Han Dynasty. His books are unpretentious and have the courage to explore. In the process of learning Yan Shu, we are naturally influenced by his books and personality (except of course Yan Zhenqing's stage and historical limitations), tempering our consciousness and quality, thus increasing our will and strength to learn Yan Zi. However, when studying Yan Zi, we should pay attention to avoid the tendency of stubbornness and arrogance.