Yan Zhenqing's Calligraphy Style: The Complete Works of Yan Style Calligraphy.
Yan Zhenqing (709? 785), a famous calligrapher in the Tang Dynasty, was an honest official, and his ancestral home was Langxie Linyi. Successive prince tutor, censor, official department minister, secretariat, buried in the southern suburbs of Sanzhao. In the Tang Dynasty, splendid culture and art almost reached its peak, and people who could record history emerged in an endless stream, with different styles and superb skills. No matter poetry or prose, painting or calligraphy, a large number of classics have emerged.
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Wu Zhu's "Book Spectrum" (687) says: Those who are good at books in ancient times have the unique skills of two kings for one minute, and the rest are not enough for inspection. It can be seen that in the Tang Dynasty, the theoretical integrity of calligraphy art has reached a high level, which can comprehensively summarize the calligraphy art before and after the Tang Dynasty, and has a good aesthetic view, strong technical ability and inductive ability. It is worth noting that Sun and Yan Zhenqing are not contemporaries. Although Sun has never seen Yan Zhenqing's calligraphy, there is a difference of nearly one hundred years between them. Some commentators put forward a view that Yan Zhenqing is the only person in history who can be compared with Wang Xizhi, a book saint. This topic is debated endlessly, and I certainly won't assert it. Yan Zhenqing has a lot of calligraphy, many of which are classics. The following is a brief summary of the changes of Yan Zhenqing's calligraphy style. Yan Zhenqing's era can be roughly divided into three sections. One is before the age of 45, called early age; The second stage is 45 to 60 years old, called metaphase, also known as maturity; The third period is from 60 to the end of life. During this period, people and books are getting old, which is called the later period, also called the peak period.
The content of Yan's calligraphy style is 1: strict, fine and soft.
When Yan Zhenqing chronicled, the art of calligraphy was already very prosperous. The royal family once collected a large number of original works of senior calligraphers such as Zhang Zhi and Er Wang, and found craftsmen to rubbings for the kings, which made great contributions to promoting the development of calligraphy art. From Yan Zhenqing's birth to the age of 45, that is, in the early days, Yan Zhenqing became friends with Li, Li, Han Zemu and Han Zemu. At the age of 26, Yan Zhenqing was promoted to the first class. Yan Zhenqing's early achievements in calligraphy art have reached a high level, but we always ask him for history, which is always too? Harsh? What is it compared with his later calligraphy? Immature? . Early calligraphy showed rigor, precision and delicacy, but it was also suspected of flattery. Before the age of 45, there were probably many works, such as Epitaph of Guo Gong, A Prince Taishi, Guo Monument, Guo Yan Monument, Duobaota Monument of Qianfu Temple in Xijing, Datang and so on. Maybe there were reasons at that time or in history, but today we can see less, which is also a pity to study Yan Zhenqing's early calligraphy art, but many pagodas are very distinctive and can represent his early art. Many pagodas were written by Yan Zhenqing when he was 44 years old, with the size of walnuts, which is very important to the world. In today's calligraphy teaching, many pagodas are also studied as a model. Many pagodas were written by Cenxun, the text of Yan Zhenqing's book and the official title of Xu Hao. They are now in the forest of steles in Xi 'an. The content is roughly written by Jin Chu, a shaman of Qianfu Temple in Xijing, who reads the Beijing Classic at night. Many pagodas are common, so he decided to build one. Yan Zhenqing was an orthodox Confucian in the Tang Dynasty and also believed in Buddhism. This tablet is written respectfully and naturally. This monument has taken shape? Powerful? Style tendency. Its beginning, movement and ending are clearly explained, its structure is steady and precise, meticulous, well-proportioned and meticulous, and it has a charm in the circulation of pen and ink. This book retains the charm of regular script in the early Jin Dynasty and Tang Dynasty. It can be seen that Yan Zhenqing pays attention to drawing nutrition from folk calligraphy, and at the same time, there are many similarities with Xu Hao in brushwork, which is different from the charm of Zhang Xu's nirvana in fire. In Qing Dynasty, Wang Shu wrote this tablet, saying: The charm of Lu Gong's tablet still exists, and it was when he was young and fresh that he realized this book. For Yan Zhenqing's early calligraphy art, in a word.
Yan calligraphy style: 2: muddy and solemn, indomitable spirit.
Yan Zhenqing period, 45 to 60 years old, calligraphy entered a mature period. From the perspective of artistic age, calligraphy in the middle period accounted for almost 89% of Yan Zhenqing's entire artistic career. As the old saying goes, stand at thirty, be puzzled at forty, and know your destiny at fifty. As far as a person's ideological realm is concerned, Yan Zhenqing certainly had a better understanding of the art of calligraphy, the value of life and the cycle of the world at that age. Only in this way can his artistic achievements be established. In the middle period, Yan Zhenqing's personal energy was extremely vigorous, with rich connotation, both form and spirit, and his character and knowledge were very economical. The artistic value of this mature period is the most worthy of study and textual research.
Dong Fangshuo Painting a Monument (754), the full name of which is Dr. Oriental Painting a Monument in Taichung, was written by Yan Zhenqing at the age of 46. The words are as big as a small bowl. It is worth noting that this monument has a seal script in Yang and a official script in Yin, which is delicate and beautiful, and is not under the many masters of seal script at that time. The writing of this monument coincides with Yan Zhenqing's youth and high spirits. His calligraphy has gained a certain reputation in the society. This tablet is full of ink, firm in stippling, healthy in vertical painting, regular in horizontal painting, even and decent, and healthy in Chinese style. All these can be seen that Yan Zhenqing has been physically and mentally? Vague? Breaking through the style of two kings, taking grandeur and solidity as aesthetic characteristics, the bud of color style began to sprout. First, the pen looks awkward outside, and it feels awkward and elegant after repeated tastes; The second font tends to Fiona Fang, with strong visual impact, vulgar but not vulgar, good but not flattering, and the so-called clumsy and beautiful wind is also the beginning; Third, compared with Wang Zi's style, it depends on the lack of that kind of tenderness, but the pen is thick but not impetuous, and it begins to break the shelf of low left and high right.
Comment on Yan Zhenqing in Wang Shu's Inscription and Postscript on Virtual Boat in Qing Dynasty: It's not as good as grass, and grass is not as good as manuscript. In the middle period, the cursive script represents "Sacrifice to the Nephew" (758), and the ink mark is Yan Zhenqing's fifty-year-old book. Many changes have taken place in society this year. What about Yan Zhenqing himself? Work? It has also changed, which has left him scarred all his life like never before. His mood is for the rise and fall of the other party, the official position and even the secretariat (equivalent to the top leader at the prefecture level). According to the "Sacrifice to the Nephew", Yan Gaoqing, the magistrate of Changshan, and his son stood up and made the loyalty oppose during the Anshi Rebellion? When my father died, the nest fell on the egg? A matter of benevolence and righteousness. Ji Ming is Gao Qing's third son and Zhen Qing's nephew. When his father and Zhenqing * * * crusaded against the Anshi Rebellion, he traveled back and forth between Changshan and Pingyuan, delivering news and linking the two counties, and * * * was loyal to the royal family. Later, Changshan County fell and Ji Ming was killed, leaving only his head when he was buried. Yan Zhenqing set out to write a book, grief and indignation, could not help it. He finished writing the manuscript at one go. Therefore, the pen is swaying vertically and horizontally, and the posture is born, and it is natural and vivid inadvertently. The whole process is ups and downs, sometimes depression and pain, tears streaming down her face; Sometimes it is a sad and touching work. Yu Shu, the founding father, said in the postscript:? Yan Zhenqing's book "Sacrificing a Nephew" is the second running script in the world? This evaluation has been recognized by calligraphers of all ages. There are three characteristics in "Sacrifice to a Nephew": First, it is flexible, written in the center, and hidden everywhere. The brushwork is quite fine, turning points, or simplifying the complex, killing the pen hard, naturally revealing. The second is to achieve the goal of becoming immortal. With the elegant charm of Wang's characters, it becomes a generous and natural knot, which extends outside the painting, arcs are opposite, and echoes around, scattered in shape but gathered in spirit. Between the lines, the spirit changes with the mood, regardless of work, unintentional is especially good, and circle point alteration can be seen everywhere. Lively and changeable in the brushwork without shirt and shoes. We can strongly feel the ups and downs of Yan Zhenqing's feelings in "Brave and Frank". Write slowly and quickly, sometimes disgusting and sometimes slow, and want to stop. Words are connected with each other, which seems to be broken, or clever, or the pen is broken; It can be described as ups and downs and interesting. The assembly area is not crowded, and the spacious place is not empty. It can be said that it is sparse and airtight. When white is black? Interest. Between the lines, whether it is left or right, it is opposite, or the heart is stuck, or it suddenly breaks, and the truth is swaying. What is particularly exciting is that the last few lines, from line to grass, are swift and unrestrained, pouring down, with the majestic momentum of rivers bursting their banks. Go to line 18? Alas? The first three words come out one after another, indicating that grief is to the extreme. From line 19 to the end of the article, it seems to be another storm, and its anger is hard to suppress and its feelings are hard to sue. Write? Shouyi? When writing two words, I changed it back and forth, changed it again and again, as if I were caught in an emotional whirlwind. Long song should weep and weep, all the way to the end? Alas, is it still awkward? Shocking, shocking. The third is the ink method of thirst and vividness. This manuscript is thirsty for many pens, and the ink is thick and dry. This is related to the tools used by Yan Zhenqing in writing, such as short and bald bristles, thick and burnt ink, dry paper and so on. The artistic effect of this ink painting is in good agreement with Yan Zhenqing's grief and indignation at that time.
In the same year, there was the Manuscript for Sacrificing Uncle, which appeared in the form of letters. This world is carved with a pen or line or grass, strong and familiar, running in the center, using a pen vertically, regardless of clumsiness and layout. However, there are many similarities with "Sacrificing a Nephew", but the pen and charm are still inferior.
For Yan Zhenqing's cursive script, it has reached the acme of calligraphy art in the middle period. Among them, Competing for Seats (764) is also called "Sacrifice for Nephew" and "Sue for Uncle"? Three drafts? , also known as the book of seats, with Guo servant. There are many stereotypes handed down from ancient times. According to Zhu Guantian's Chronicle of Yan Zhenqing, there are at least 12 species. The Book of One Seat has a great influence on later generations. Su, Huang, Mi and Cai all copied the Records of Xi. This post was written by Yan Zhenqing and Shangshu Right Servant. Frankly speaking, Guo Ying despised etiquette and flattered eunuch Yu Chaoen at the Anfu Temple Road Promotion Conference, making him more polite than the six ministers. Between the lines is full of loyalty, which makes him respect. On the whole, the narrative lyric works of true feelings are manuscripts, but because they are good at brushwork, they show superb artistic skills while expressing feelings. Is there a running script between Wang Xizhi's Competing for Seats and Preface to Lanting? Shuangbi? Known as, all generations cherish it. Mi Fei's "Zhang Bao to be visited" said: The connection between words and meaning is flying, strange and unexpected, which is also Yan Xingshu's first book. Contention for Seats is Yan Zhenqing's successful work of writing running script with a brush. His pen is round and smooth, especially when changing pens, the laurel horn is deeply hidden, the nib is like a leak mark, the stippling is dignified but not sluggish, bold and unrestrained but not slippery, full of real strength and full of momentum. This is also an important factor in his innovation and personal style. A close look at the pen of this manuscript can fully understand what the author advocates? Leak marks? The meaning of the pen. Ruan Yuan's metaphor for the line meaning and action of this post is very appropriate: "Competing for seats" is like melting gold, which flows away everywhere. ? The author is also good at using the square to break the circle, sometimes making a sudden break and jumping to the side at once. In his vivid style, he reveals a firm and decisive character. In the book "Learn from You" by Yang Shoujing in Qing Dynasty, it is said that since the right army, the post of Duke Lu has always been regarded as a special case, and he has never been charming, but only marked the strength of ancient times. He Zizhen will launch Lanting. This post is written by letter, full of interest and meaning, and the state is flying by accident; Pen and ink dripping, both god and grass; Full of loyalty, strange words. Although it is like a thunder axe, it cannot be done.
At the age of 56, Yan Zhenqing pushed the regular script to a higher level, and his masterpiece "Guo Family Temple Monument" (764), also known as "Guo Jingzhi Family Temple Monument", was named "Guo Gong Temple Monument, which was given to Taibao by Tang Tai Yi". This tablet is meticulous, solemn and elegant in brushwork, smooth and bright in brushwork, vigorous and round, slightly bent inward in the left and right vertical strokes, spacious and spacious in the middle, rich and comfortable, full of vitality and charm, and is a typical work of calligraphy art in the middle and late period. When Wang Shu wrote this tablet in Qing Dynasty, he said: Looking at this book today is slightly the same as "confessing to follow the book", but it is more prosperous than "confessing to follow the book". ?