Yan Zhenqing's regular script changed the charm of the early Tang Dynasty, and it was magnificent. Yan Zhenqing was a beginner of Chu Suiliang and later became a disciple of Zhang Xu. In the writing of regular script, Yan Zhenqing absorbed the characteristics of the four masters and took part in the brushwork of seal script. In the structure of calligraphy, he studied seal script. Symmetry is correct. The pen is mainly round, slightly curved, rigid and flexible, changeable and interrelated, and the strokes seem to be broken and connected, so it is called "strict progress" Yan Zhenqing's regular script is considered by later generations to be closely related to the bearing of the Tang Dynasty. It is not only his innovation in calligraphy under the rule of the two kings, but also his regular script is rich, dignified, atmospheric and free in statutes, which is the representative of respecting the law in calligraphy in Tang Dynasty. Among his many regular script works, there are many excellent ones, among which we can see the gradual maturity and charming temperament of his regular script style from three works: Duobaobei, Yanbei and Magu Xiantan Ji.
First, he changed the elegant and agile style popular in calligraphy since the Jin Dynasty. Although he didn't completely break away from it, he used heavy brushwork to occupy the mainstream and gradually broke away from the limitations of the calligraphy style of the two kings, which made the calligraphy of the Tang Dynasty go out of its own way. Second, there is no limit to the so-called aristocratic inheritance. It is innovative to learn from folk books and take their essence, which breaks the narrow concept of literati elegance and vulgarity. Third, the brushwork of calligraphy is innovative, but the big country emphasizes the law. The whole pagoda monument embodies the observance of statutes, rigor and dignity, symmetry and harmony, seeking change in statutes and enjoying freedom in rules.