Yan Zhenqing's original calligraphy is magnificent and dignified, and its handwriting has changed from slender in the early Tang Dynasty to square and has a centripetal force. The pen is vigorous and powerful, and the central brushwork is good. Full of bones and muscles, but also sharp. Generally, horizontal painting is slightly thinner, vertical painting, point, skimming and pressing are slightly thicker. This book is magnificent in style and momentum, and has the spirit of flourishing Tang Dynasty.
His cursive script is vigorous, expressive, calm and vigorous, which opens up a complete life for the cursive script after Wang School. Yan Zhenqing's running script is vigorous and vigorous. This style also embodies the prosperous style of the Tang Dynasty empire and conforms to his noble personality. It is a typical example of the perfect combination of calligraphy beauty and personality beauty, so it is praised as "the second running script in the world" by later generations.
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Most of Yan Zhenqing's works handed down from ancient times are carved steles, and the regular script includes Multi-Tower Induction Monument, Magu Fairy Altar, Dong Fangshuo Portrait Monument, Yan Monument, Yanshi Family Temple Monument and so on. , as well as running script such as "the seat", and book traces such as "my own confession" and "the manuscript in memory of my nephew Ji Ming". Among them, the tablet is dignified and vigorous, but the brushwork is thin, which is different from other tablets.
Yan's Temple Monument is rich in calligraphy, which is one of his masterpieces in his later years. Compared with his early works, it is more vigorous and atmospheric, which is his masterpiece in his later years. In addition, there are also some epitaphs in Yan Zhenqing's calligraphy works, such as Guo's epitaph, Wang Lin's epitaph and Luo Wanshun's epitaph, most of which belong to Yan Zhenqing's early works.