Stylistic Features of Yan Zhenqing's Regular Script Works
Yan Zhenqing was an outstanding calligrapher in the Tang Dynasty. As a former governor of the plain, "Yan is called the plain." He was also named Duke Lu, also known as Duke. His calligraphy was inherited from his mother's Yin family. Later, he learned from Zhang Xu and got his brushwork.
His achievements in regular script and running script are extremely high, and he is another epoch-making calligrapher after Wang Xizhi. His regular script is known as "Yan Ti" and has far-reaching influence. Yan Zhenqing's regular script has a gradual development process, and the styles of his works in different periods have their own characteristics. The works around the age of 40 are early works, such as "Guo Epitaph" and "Duota Monument", which are elegant and beautiful with pens; The knot is even and stable, dignified and dense. His works around the age of 60 are medium-term works, such as Fu of Zhongxing in the Prosperous Tang Dynasty and The Story of Magu Xiantan. Their brushwork is simple and vigorous, vigorous and steady, and there are few decorative patterns at the beginning and end of the pen. The knot is sparse inside and dense outside, the center of gravity moves down, and the body is wide. The works about 70 years old are late works, such as Yan Liqin's tablet and Yan Jiamiao's tablet, which are horizontal and thin, round and resolute, simple and elegant, and ingenious; The structural features are that the palace is spacious, with stronger external cohesion, showing a magnificent and elegant style.
With the rise of Yan Zhenqing, Tang Kai has formed a brand-new style, which is another milestone in the history of calligraphy after Wang Xizhi.
Characteristics of Yan Zhenqing's Calligraphy
Yan Zhenqing's calligraphy is called Yan Style, which has its unique style and brushwork. There are many inscriptions left by him, and later calligraphers think that traces of "round pen" can be found in some of his inscriptions, which is different from other calligraphers' "Fang Bi".
Yan Zhenqing is regarded as a pioneer by calligraphers with round pens. The use of square pens by him and Wang Xizhi had a far-reaching influence on later generations.
His calligraphy not only has the charm of the previous calligraphy style, but also is not bound by the ancient law. It broke through the conventions of the early Tang Dynasty and formed its own style, which was called "colourful style". Song Ouyang Xiu commented: "Thinking about life is loyal, so calligraphy and painting are strong and independent, and they don't attack the past. They are quite magical, a bit like people. In the Song Dynasty, Zhu listed his calligraphy as a sacred product in "Continued Book Break". " He also commented: "The point is like a falling stone, the painting is like Xia Yun, the hook is like gold, and the bow is like a crossbow. There are images in both vertical and horizontal directions, and there is a low posture. Since the dedication, no one has said it. "
Yan Zhenqing's Calligraphy Works
Yan Zhenqing's existing calligraphy works include: multi-pagoda monument, Yanjia temple monument, monument, Magu fairy altar, nephew monument, Bo monument, seating post, painting praise and so on. He and Liu Gongquan, another calligrapher famous for regular script in Tang Dynasty, are called "Yan Liu".
Many works are said to have been handed down 138 kinds. The regular scripts that are valued by later generations include Duobaota Monument, Oriental Painting Praise Monument, Magu Fairy Altar, Guo Monument, Monument and Miao Monument. These inscriptions are all regular script, with personality, characteristics and positive momentum, but the strokes are thin and thick, and their feet are empty. His running script "Ji Ming's Nephew's Manuscript" is a work of grief and indignation, and it is called the second running script in the world. Running scripts include "Contending for Seats" and "Poems by General Pei".