Yan Zhenqing accepted Zhang Xu's brushwork and said with delight, "It's wonderful to attack books from now on. Five years later (or seven years later), I really know that this can be done. " Therefore, the five years (or seven years) after Tianbao's five years can be said to be the stage of Yan Zhenqing's efforts to hone according to Zhang Xu's guidance. Sure enough, eleven years after Tianbao, there are more and more calligraphy tablets in Yan Zhenqing, which has enjoyed a certain reputation in the society. The eleven-year books of Tianbao include Guo Monument, Guo Yan Monument, Duota Monument and Confucius Temple Monument. In the 13th year of Tianbao, there were masterpieces such as Dong Fangshuo Portrait Praise and Dong Fangshuo Portrait Praise Monument Seal Ji. In the 14th year of Tianbao, An Lushan rebelled, and Yan Zhenqing was preoccupied with fighting the rebels, so he had no time to care about the art of writing. This can be said to be the first stage of Yan's calligraphy experience and the first realm of experience.
During this period, although there may be differences in the appearance of each monument, on the whole, it was the initial formation stage of "Yan Di". From the analysis of many pagodas and other typical works, it can be seen that Yan Zhenqing pursues calm and heroic pen, vigorous bone strengthening and thick flesh color painting; The structure is dense, dignified and deep, changing from slender to square; Reduce the spacing of lines on the cloth and become dense. At this stage, what Yan Zhenqing pursues in Xiong is the realm of charm: pointillism has bones and muscles, pointillism is pure and charming, and its strength and danger make it clear and charming. Besides, he basically specializes in learning real books and cursive scripts. Although there are official scripts and seal scripts, there are not many. Yan Zhenqing's first realm came from the early Tang Dynasty, which broke away from the track of the early Tang Dynasty and stood on its own feet. The experience of this realm is based on Zhang Xu's example. From 50 to 65, it can be said that it is a second realm experience. In this process, "Yan Ti" has both form and spirit, and gradually matures. In the meantime, his works include Jin Tianwang Temple's Inscription (758), Poem Inscription Table of Xiaoyaolou (758), Biography of Fairy Jade Leaving the Pile (762), Erase Biography (762), Yan Yunan's Inscription (762), Wei Zhenbei (763) and Zang. Yin Jianyou Monument (770), Zhang Monument (770), Love Monument (770), Baoying Temple Altar Memorial (77 1), Magu Mountain Xiantan (77 1).
After experiencing the turmoil of "An Shi Rebellion" and being imprisoned again and again, he expanded his spiritual space again and again. Scholar-soldier-commander-in-chief, standing in North Korea-standing in North Korea, with frequent lifestyle changes, more life experience and deeper artistic taste. These, Yan Zhenqing's "One Book", have repeatedly tempered the early "Yan Ti", refined in form and spirit, making both spirit and form, and finally maturing. As you can see, he strengthened his wrist, moved the center, adopted the printing method, and moved the circle to the front line in Tibet, such as Yin Yinni. The strokes form the swallowtail of the silkworm head, while the straight drawing forms the shape of a crossbow. The contrast between strokes is complicated. Pinch the end of the hook, kick out the sharp edge and show off its spirit. His brushwork shows a tortuous rhythm. Its straight hook, flat hook and inclined hook are full of potential, with uniform curvature and strong roundness. Its folding pen is secretly rotated by holding the pen, forming an inclined plane to fold down, and it is drawn by "folding pin". Structurally, it is dignified and steady, with a wide middle palace and dense shapes around it. It does not occupy the lateral advantage of the center of gravity, nor does it occupy the left and right advantages, but shows people with a symmetrical positive image like turning inside. On the white cloth, there are rows of words and dense lines, and the momentum is taken by shape, not by thinning.
At this point, Yan Zhenqing swept away the regular script style since the early Tang Dynasty: the former is square and the latter is positive; The former is beautiful and the latter is strong; The former is elegant and the latter is straightforward; The former is thin and the latter is fat; The former has profound statutes, while the latter has laws to follow; The former is decorated with flowers, while the latter is full of vitality. It can be said that it is reform and innovation, and the male soul casts a "face." More than ten years after the age of 65 can be said to be the experience of the third realm. From maturity to magic, every monument has its own glory. The works of this period include stele (772), Ganlu Zishu (774), Yan Gao Qing stele (774), Miaoxi Temple stele (774), Zhushantang (774), and Li stele (777), etc. Taking typical steles such as Yan stele and Yanjiamiao stele as examples, Yan Shu is full of vividness in the old and spicy.
Confucius said, "Sixty is pleasant to the ear, seventy is satisfactory, and it doesn't go beyond the limit." Yan Zhenqing also reached this level in his later years. He has a thorough understanding of life and calligraphy in reflection, and has a thorough understanding of the philosophy of life and calligraphy, so his paintings are mottled with blood and tears of life, and are full of life carols in the movement of pen and ink; It not only fills a cavity of pride in the ups and downs of the lines, but also inspires personality brilliance in the dense white! At this point, his book is like an ancient forest, but it has dense flowers and buds. A book full of anger, a thousand schools of thought contend.
The above mainly introduces the situation of Yan Zhenqing's regular script, and its outstanding cursive art will be introduced in Yan Xie Shuying below.