The full name of the multi-tower monument is the multi-tower induction inscription of Qianfu Temple in Xijing, Datang.
It was written by Yan Zhenqing, a calligrapher in the Tang Dynasty, in the 11th year of Tianbao (AD 752). It embodies his early calligraphy style, with neat and meticulous fonts, rigorous structure and meticulous brushwork. Therefore, this tablet is also the most popular model for future generations to learn regular script.
These rubbings were originally collected in Calvin, and now they are collected in the Palace Museum. The "chisel" stroke in the tablet is intact, and Song Tuo. White paper mining, setting, cutting and installing books. This is Yan Zhenqing's work at the age of 44, which is earlier than other existing works.
The structure is steady, meticulous, vigorous and beautiful, which is very different from his later calligraphy.
The Monument to the Duota was written by Yan Zhenqing at the age of 44, which is directly related to the kings of Europe, Henan and Chu, and has obvious similarities with the classics written by the Tang Dynasty. The whole structure is compact, and the stippling is round, beautiful and vigorous. Although it has not yet formed a vigorous, vigorous and magnificent Yan Kai style, this monument has laid the basic features of Yan Zhenqing's calligraphy style. It is the earliest regular script work of Yan Shu handed down from generation to generation, with stable and correct structure and solemnity. It is one of the representative inscriptions of "respecting the law" in Tang Dynasty. Many people who study Emperor Yan started from this monument and entered its temple.
The pen on the tablet is mostly centered on this, and there is an obvious pause in starting and receiving the pen. Pens are mainly used to hide the front, but also to expose the front and Fiona Fang. Some horizontal strokes are relatively exposed, unlike Liu Shu's square feet, which are slightly oblique and rich in implicit brushwork; More strokes, more strokes back, emphasizing "tail protection", especially horizontal painting. When writing horizontally to the pen collection place, it is often pressed to the lower right, and the strokes return to the right, reflecting the majesty and atmospheric charm of the face, and the vertical painting is heavy and powerful. The horizontal and vertical strokes are in sharp contrast, full of rhythm and beauty, and fully express the meaning of a "tendon" on the face. Yan's body-skimming painting is lighter and more vigorous, but the picture is strong and powerful, and it is called "Swallowtail Silkworm Head", which gives people a strong sense of movement, especially when the feet are pressed for a long time and kicked out after frustration, which is implicit and rigorous. In addition, Yan's figure painting feet are mostly flat or slightly lower than the painting tips, unlike Liu's low height, but present a kind of stretching and calm beauty.
There are many changes in the turning point of the monument, mainly including the method of raising a pen and shrugging, cutting shoulders according to a pen, the method of square circle, and the method of using Fiona Fang at the same time. It has the typical characteristics of "respecting the law" in the Tang Dynasty, with wide structure, uniform white cloth, slightly square font, dignified and steady, full of righteousness, and has begun to show a positive and heroic calligraphy style in the mature period of Yan style.
The book "Many Pagodas Monuments" is not as rigorous as Liu Shu's, but like Xu Xiasheng's pike and spurge. The stroke width of this tablet font is smaller than that of Ou and Liu calligraphy, and the main pen is more convergent and the short pen is longer. Therefore, the middle palace is more spacious, the external strokes are more regular, slightly looser inside and tighter outside than European and Liu calligraphy, and the characters are broad, vigorous and steady.
The use of points in the monument to many pagodas is flexible and eye-catching; There are bare front and reflection bands between each stroke, which are coherent and oblique; Some vertical shafts deliberately deviate from the center line, but rely on long horizontal oblique potential, long "arm of force" and heavy "vertical tail" to achieve balance, so that stability and liveliness coexist and interest increases. Although the style of the book is vigorous and thick, it is full of pen and ink, which has a lasting appeal in the circulation of pen and ink, which also makes Yan Kai's "masculine and charming" writing style. Yan Shu's "tight inside and loose outside" and "square" are only relative to the styles of Europe and Liu Shu. As for words, the structure of words still conforms to the general law of regular script structure, and strokes, structures and words can all change in the same way, with uneven structure and scattered left and right. In learning, we should avoid being loose inside and loose outside; The font should not be too square, but plain.
The Monument to the Duota is Yan Zhenqing's early masterpiece and an excellent model for future generations to learn calligraphy. But this monument did not form Yan Zhenqing's bold style. This monument hides the front with a pen and returns to the front with a pen. It has a well-balanced structure and a rigorous and solemn style. When studying this kind of tablet, we should pay attention to the turning point of the pen, the tight inside and loose outside of the structure, and carefully observe and study its pen-using characteristics and structural rules. It is only a matter of time before we learn this monument well.