Characteristics of Yan Zhenqing's Calligraphy Among the numerous calligraphy inscriptions in China, Copybook for calligraphy, the calligraphy I first came into contact with, was "Many Pagodas" published by China Cultural Relics. The full name of the multi-tower is the multi-tower induction monument of Qianfu Temple in Xijing, Datang. Built in the 11th year of Tianbao, it was written by Cen Can, inscribed by Yan Zhenqing Shu Dan and Xu Hao, and engraved by Shihua. It is now in the forest of steles in Xi 'an. The inscription tells that longxing temple in Xijing and Monk Chu read the Goblet of Fire on a quiet night today, as if many pagodas appeared from time to time. He is determined to turn the stupa in illusion into reality. In the first year of Tianbao, Qianfu Temple was built, which took four years to complete.
Yan Zhenqing, whose real name is Chen Qing, was born in Linyi, Langya, Tang Dynasty. Kaiyuan Jinshi, moved to the palace as a counselor, was hated by Yang, the satrap of the plain, so the world called Yan Plain. An Shi Rebellion, who made meritorious service in resisting thieves, entered Beijing as an official, prince and founder of the county, so it was also called Yan.
Ten Thousand Pagodas is a famous work of Yan Zhenqing in his early days. His writing style is respectful and sincere, which directly reflects the legacy of Europe, Yu and Chu, but it has obvious similarities with the writing style of Tang Dynasty. While learning from the previous generation of calligraphers, Yan Zhenqing also paid great attention to absorbing nutrition from folk calligraphy art. The whole article has a tight structure and a fence between the lines. The stippling is round, dignified and beautiful, as static as moving, and fascinating. "Many Pagodas" is a work that inherits the tradition and is a book with great personality, such as? Jing Qing pressed the sword, Fan Kuai held the shield, King Kong was furious, and Lux punched. ? "Postscript of Painting and Calligraphy" cloud:? Lu Gong, the originator of modern historians, is the most balanced and stable book, charming and colorful, with a touch of vulgarity. ?
Yan Zhenqing's calligraphy works include "Duota Monument" and "Biography of Magu Xiantan". The cursive script includes Sacrifice to the Nephew, Contention for Seats, Pei Jun Post, Confessions, etc.
Contending for Seats is a masterpiece of Yan Zhenqing's cursive script, also known as On Seats and Guo Servant Shooting. It is a letter manuscript of Yan Zhenqing and Guo Yingzhi in the second year of Tang Guangde (764). In the Song Dynasty, it was once owned by a stone man in Chang 'an, who regarded it as a stone. This stone is now in the forest of steles in Xi, Shaanxi, and the ink has not been handed down. Su Shi once saw the original in Anyi and was full of praise. This official book is strange. It's a gesture. ? Throughout the calligraphy, the characters are consistent, and the tiger is powerful. Yan Zhenqing wrote a straight book because he was dissatisfied with the arrogance of powerful traitors. Therefore, the whole story is magnificent, strong and open-minded, and there is a sense of loyalty between the lines, which shows Yan Zhenqing's upright and honest character. It has been more than a thousand years, and it is awe-inspiring to read.
"Book for Seats" was originally a draft. The author meditated between words, but did not care about pen and ink. Instead, it was full of paper and became a masterpiece in the history of calligraphy. Later generations called this post together with Preface to Lanting? Shuangbi? .
The Draft for Sacrificing a Nephew is a cursive script written by Yan Zhenqing in a state of extreme grief and excitement. During the Anshi Rebellion, Lv Gong's cousin Yan Gaoqing was appointed as the prefect of Changshan County. Thieves and soldiers advanced on him, so that Taiyuan saved our army, and Yan Gaoqing and his son were killed. So the article says? Thieves and ministers don't save, the lonely city is besieged, the father is trapped and the child is dead, and the nest is tilted. ? Later, Duke Zhuang of Lu sent his nephew Quan Ming to clean up the mess. He only got one foot and Ji Ming's skull, so he did it. Duke Lu is fifty years old. Calligraphy works are words, and people say there are words. Duke Lu is a loyal and heroic man, and his life is awe-inspiring. His spiritual integrity is embodied in calligraphy, which is the most enjoyable thing for book writers.
"Sacrifice to a Nephew" is also a manuscript. The abridgement, modification and daubing in it can be seen that Lu Gong conceived words and his feelings fluctuated from beginning to end, so his writing style was passionate, his brushwork was magnificent, his posture was full of vitality and natural excitement. All the places where the pen is used up and the belt is pulled can be seen clearly. From beginning to end, I used a slightly bald pen, a round and healthy brushwork, and finally surrendered because the ink was not dry. Although the ink color changed greatly because of the initial pause, the black ash was thick and dry, but it was done at one go. In Yuan Dynasty, Zhang Jingyan wrote an inscription:? It is better to sue than to write a letter. It is better to draft a letter. The cover is an official work, although the end of the letter is a rope contract; Letters are quite indulgent when they are on a whim; It's wonderful to see that the drafting was unintentional and forgotten by his palm. ?
"Sacrificing a Nephew" is the highest artistic realm entered in extreme sadness. What is Yuan Xian's comment on this post? The second running script in the world? . Miffy's book history:? "Competing for Seats" is full of characters of seal script, which is the first in Yan Shu. The characters are connected and fly unexpectedly. ?
In the history of calligraphy, Yan Zhenqing is the most accomplished and influential calligrapher after the two kings. Yan Zhenqing, a beginner of Chu Suiliang, studied under Zhang Xu and four masters in the early Tang Dynasty. He accepted both the seal script and the brushwork of the Northern Wei Dynasty. Later, he learned from others' strengths, became unique, turned thin into hard, turned plump into vigorous, magnificent, vigorous and awe-inspiring. This style also embodies the style of the prosperous Tang Dynasty, which is in line with his noble personality and is a typical example of the perfect combination of calligraphy beauty and personality beauty. His writing style is called. Face? , and Liu Gongquan said? Yan Liu? , is it? Yan gu? Fame.
Gong Yan is upright, honest and clean, has a sense of justice, never condescends to the powerful, condescends to flatter, and is famous for his benevolence and righteousness. His loyal and glorious deeds throughout his life improved his position in calligraphy. Song Ouyang xiu commented on the cloud:? Uncle Yan is as dignified and respectful as a loyal minister, martyr and moral gentleman. The longer people are afraid, the cuter they are. Not many people in the world see the treasure, but they never tire of it. ? Zhu also praised his book: Points like falling rocks, paintings like Xia Yun, hooks like gold, and ge like crossbows. There are images in both vertical and horizontal directions. Since Xi 'an, there have been no so-called public figures. ? Yan-style calligraphy has had a far-reaching impact on the development of calligraphy art in later generations. After the Tang Dynasty, many famous artists learned from the success of Yan Zhenqing's political reform. Especially cursive script, after the Tang Dynasty, some famous artists learned from Yan Zhenqing and established their own style on the basis of learning from the two kings.
Yan Zhenqing's calligraphy style in terms of brushwork, Yan Zhenqing changed the characteristics of Wang calligraphers in the early Tang Dynasty, such as focusing on finger movements, light and beautiful style, and winning by being thin, but increased the use of wrist strength, highlighting one? Tendon? Word, that is, what Fan Zhongyan said? Yan Jin? . So you got the word Yan? Come back through the paper Effect, showing the art of calligraphy? Power? Beauty. Su Dongpo made a more appropriate explanation for this:? Lu Gong's reform and innovation are as thin as an autumn eagle. ? Yan Zhenqing absorbed the characteristics of seal script and official script, and compiled them into regular script. And then what? Folding fork? 、? Leak marks? 、? Yin Yinni? 、? Tapered sand? Such brushwork is reflected in his calligraphy works, and what he writes is unique? Silkworm head dovetail? Yan Kai is plump, energetic, dignified and dignified. Based on the principle of seal script, we should be cautious, let go without flowing, catch without being clumsy, and be kind. ? In addition, Yan Jie's pen is light horizontally and heavy vertically, with high priority and extraordinary bearing, which makes Yan Zi have an artistic effect of artificial relief and is quite distinctive.
Yan Zhenqing? Leak marks? Yan Zhenqing's brushwork? Leak marks? As an important concept in the history of brushwork, many calligraphers and scholars have explained it, but it is rarely involved in the real discussion from the perspective of calligraphy history and aesthetic history. This article intends to elaborate from an aesthetic and historical perspective, not superficial, please correct me.
1. Yan Zhenqing? Leak marks? What are the times scenes and historical backgrounds put forward by Yan Zhenqing's brushwork view? Leak marks? Suggestions can be found in Lu Yu's Biography of Huai Su? Shihuaisu and Yan Zhenqing on cursive script? A paragraph. The full text is as follows: Huai Su and are brothers, and they often accept children's brushwork. Tong Yue:? Zhang Changshi privately refers to Tong Yue? A lonely canopy vibrates by itself and flies in the sand, which naturally surprises me. ? That's it, Cao Sheng. Yan Zhenqing said? Did the teacher get anything? Su Yue? I see many strange peaks in Xia Yun, and I often learn from them. Its happiness is like a bird out of the forest and a snake into the grass. It is natural to run into a wall again. ? The truth says: Why does it look like it's missing? Su Qi shook his hand and said? I see. ?
① ? Leak marks? The concept of cultivation. Obviously, the proposal of missing marks is the spark of wisdom collision between two calligraphy masters. They give full play to the imagination of calligraphers and refine and summarize the cursive brushwork to a new era. Most calligraphers in the Tang Dynasty had such genius. Their ability to know, study and practice brushwork surpassed that of every subsequent dynasty, and they seemed to explore brushwork tirelessly. Talking about law, emphasizing law and practicing law have become a trend of the times. More importantly, they are also good at transforming their understanding and experience of brushwork into natural metaphors and expressing them in very appropriate life-like and natural language. For example, in Yan Zhenqing's "Twelve Meanings of Zhang Changshi Style", Zhenqing said:? Dare to ask the great god of long history to use the theory of words, can you smell it? Has a long history: To teach brushwork, I got it from my old uncle Yan Yuan. Although the books I learned before are very successful, I can't help but be subtle. ? After Chu Henan asked, he said: Use a pen like Yin Yinni? After unconscious thinking, I met Sha Ping in Dao Jiang, and met tranquility, which made me want to study. I draw it as a sharp edge, which is dangerous, bright and attractive. Self-realization is to draw sand like a cone with a pen and hide it in front. The painting is sinking. When he uses a pen, he often wants it to pass through the back of the paper, which is extremely successful. Real grass is drawn with strokes, just like drawing sand. If the painting is clean and charming, it is the best, so it will last forever and naturally conform to the ancients. ?
(2) Here, we have been unable to specifically research the cursive scripts of Yan Zhenqing in Zhang Changshi, Yan Zhenqing and Huai Su? Leak marks? At that time, but judging from the depth of other ways, Yan Zhenqing should be the first to be influenced by Zhang Xuru? Tapered sand? Inspired by pen metaphor, Yan Zhenqing actually has his own unique feelings about cursive brushwork, but he has not found a suitable language form to express it. In the Tang Dynasty, almost every successful calligrapher put forward his own view of brushwork. As Xu Hao and Yan Zhenqing proposed at the same time? When using a pen, it is especially necessary to hide the front. If you don't hide in front, the words will be sick and you won't go. How can it be? This trend of attaching importance to law is obviously a series of styles and fashions brought about by the extreme evolution of regular script after entering the Tang Dynasty.
Tang Kai is a great masterpiece of the Tang Dynasty. The concept of brushwork contained in the art of regular script is much more complicated and profound than other calligraphy styles, and there are countless theories about regular script techniques. The study of regular script brushwork in Tang Dynasty also promoted the development of cursive script art. Zhang Xu and Huai Su's romantic cursive script style was wild without losing the rigor of statutes, which was bound by the rationalism of regular script writing. This is indeed a unique and outstanding creation of calligraphers in the Tang Dynasty.
If calligraphers in the Tang Dynasty attached importance to brushwork, was it put forward by Yan Zhenqing? Leak marks? From the perspective of brushwork, the traditional brushwork of classical calligraphy in the Han, Wei, Southern and Northern Dynasties is the historical background for the formation of his creative thoughts. At first, under the banner of Emperor Taizong, calligraphy in the Tang Dynasty formed a trend of returning to gold and law. Therefore, the concept of brushwork in the Han, Wei, Southern and Northern Dynasties also profoundly influenced the creative thinking of the Tang people. For example, in Cai Yong's "On Pen", it is said that if a book is a body, it must enter its shape. If you sit and walk, if you fly, if you come and lie down, if you are sad and happy, if an insect eats wood leaves, if a sword is long, if a strong bow is hard to lose, or if there is fire and water, if there is a cloud, if the sun and the moon are like, it is called a book. ? This is a typical view of calligraphy and Taoism before the Tang Dynasty. Tang people inherited the traditional spirit of emphasizing brushwork by calligraphers in Wei, Jin, Southern and Northern Dynasties, but at the same time injected some new rationality into the times. They don't compare calligraphy to anything, but are good at extracting the true meaning of calligraphy from life and natural phenomena. Yan Zhenqing is in such a great era of artistic innovation and order. He can't give up the ties and complex of history. Of course, he is also deeply influenced by the fashion of the times. His concern for brushwork has entered an internal spiritual category, and his diligent pursuit of brushwork has become the first priority in learning calligraphy. He summed up his understanding and experience of brushwork in very vivid language, and expressed his brushwork and aesthetics very concisely. It not only shows his innovative attitude, but also fully shows Yan Zhenqing's artistic pioneering spirit, which is different from the ancients as a calligrapher, and at the same time, it also distanced himself from the people of the times.
The era atmosphere of Yan Zhenqing's calligraphy creation has been living in the middle Tang Dynasty, and the calligraphy style of the two kings has steadily risen to the mainstream. Of course, in this mainstream situation, there are still calligraphers who adhere to the ancient laws of Qin and Han Dynasties. Early calligraphers such as Ou Yangxun, Chu Suiliang, Zhang Xu and Xu Hao all attached great importance to the ancient Tibetan Front Road. This brushwork, which originated from the brushwork form of seal script, has not been dispelled since the calligraphy style of the two kings of Tang Zong. It has been flowing like an invisible undercurrent. Ou Yangxun was deeply influenced by ancient northern laws in his early years. Chu Suiliang was also a great scholar, while Yu Shinan studied under Wang Xianzhi. Although the ancient method of Zangfeng was not further publicized at that time, no one abandoned this ancient method of using a pen in the calligraphy creation of the Tang Dynasty, but no one carried it forward in the shadow of the calligraphy style of the two kings. From the middle Tang Dynasty to the middle Tang Dynasty, Yan Zhenqing began to change greatly. He conscientiously summed up the experience of predecessors in using pens, inherited the ancient methods of the Central Plains well, and his understanding of the brushwork of seal script rose to the height of the times, further strengthening and integrating this point in his cursive script. So from this perspective, Yan Zhenqing proposed? Leak marks? His views on brushwork are not strange, but natural.
Second, Yan Zhenqing? Leak marks? Aesthetic value of brushwork view and its influence on later calligraphy
About what? Leak marks? There are many scattered opinions about the true meaning of this book. But most calligraphers think? Leak marks? The core idea of Tibetan Front is about Tibetan Front. For example, Hao Jing, a poet in the Song Dynasty, said in the Book of Narration: Generally speaking, it's all about hiding the front and bones, which is implicit, that is, there are leaks at home, and that's what they all say. ? Another example is Dong Qichang's Essays on Painting Zen Rooms in the Ming Dynasty. Yan Pingyuan missed the mark and dismantled the shares, which meant to hide the front, and later generations took the ink pig as it. Before he became an idiot, he couldn't talk about dreams. If you want to know the leak mark and the hairpin strand, you can't write it at the same time. ? For another example, Feng Dao said:? Nothing droops, nothing shrinks, and nothing is collected, just like a house leaking. ? At the end of Qing Dynasty, Kang Youwei's "Two Boats in Guangyi" said: Tapping sand, Yin Yinni and leaking marks are all talked about endlessly, that is, hiding the front. ?
So we can learn something about Yan Zhenqing from the evolution of historical brushwork? Leak marks? The inner meaning of the view of brushwork. I have already discussed in the article "The Decline of Sublime Beauty" that Yan Zhenqing is a great practitioner who is loyal to the ancient Tibetan law. From the history of brushwork, Cai Yong, Zhong You, Wang Xizhi and others are in the same strain. It is from this series of posts that Yan Zhenqing learned valuable nutrition.
Hao Jing, a poet in the Song Dynasty, said: Change the seal to Li, Yan to Zhong, and Wang to use seal. ? Inscription of Shu's Virtual Boat:? From the Qin Dynasty to the Eastern Han Dynasty, any increase or decrease was wrong, so the ancient seal script method was a bad method. During the Wei and Jin Dynasties, although the meeting between Zhong and Wang broke out, it failed to be corrected. Except for the Six Dynasties, it was passed down from generation to generation, and it was getting worse every day. Emperor Taizong and Emperor Gaozong followed the right script, calligraphy gradually returned to the right, and the minister of Yu Chu came out. Although the Six Dynasties failed to add shapes and cut lines, they made mistakes, covering ten to seventy-eight. More than a hundred years later, Yan Yuansun wrote "The Book of Manna", which was highly praised by Duke Lu, and the calligraphy gallery became very popular. Every word you make must be consistent with the seal, and there is no discrepancy. Bandits use it as a font, purely with a pen. Although its grass is also consistent with the seal brush. The only one who got the right method was Lu Gong. ? Pet-name ruby and "Continued Book Spectrum" said: Since Qin Dynasty, the word has meaning, and the law is expensive and strict. Since Wei and Jin Dynasties, the strokes have been reduced, so as to conform to the characters' trend, only the public can combine the meaning of seal script, and be cautious, free and easy, young but not clumsy, and good. ?
From this point of view, the previous discussion is more concentrated, that is, Yan Zhenqing is the successor and promoter of the ancient seal brush method. And then what? Traces of water leakage in the house? The core is the ancient Tibetan front method, that is, the printing method. Therefore, what are the leaks? The real connotation of "reason" is the aesthetic thought embodied in this brushwork. This is fully reflected in his three drafts of cursive script. Pay attention to the calligraphers' evaluation of Yan Zhenqing's calligraphy, and their aesthetic feelings are different. Like what? Exhale with muddy strength and change with attitude? ,? Tight knot? ,? Is Gu Lian a hero? ,? What happened to Gao? ,? Hunjin? ,? Pen classic? ,? Apollo qi? ,? Older personality? ,? Gu Qixiu, right? ,? Quaint and handsome? ,? Round and ancient? ,? Come back through the paper ,? As thin as an autumn eagle? ,? Ancient rhyme? ,? Gucci is good at being in charge? ,? As tight as iron? ,? No cleverness, no flattery, no simplification and no repetition? ,? The rate is firm? ,? Brother Shen is happy? ,? Heroic? ,? Liu Li is frustrated? ,? Wanjun's efforts? ,? Upset? Wait, wait, wait These different aesthetic feelings come from the calligraphers' observation, appreciation and experience of Yan Zhenqing's calligraphy works. Although there are differences, one thing is roughly the same, that is, Yan Zhenqing has been following him? Leak marks? His brushwork concept and the charm of ancient seal brush can be shown everywhere in his calligraphy works.
Should I say, Yan Zhenqing? Leak marks? His view of brushwork has a great influence on later calligraphy. There were two climaxes in the history of calligraphy, one in the Song Dynasty and the other in the Qing Dynasty.
For example, Su Dongpo and Huang Tingjian praised Yan Zhenqing's calligraphy in the Song Dynasty. It is precisely because of the strong admiration of the Duke and Duchess that Yan Zhenqing's position in calligraphy belongs to the historical position. Su Dongpo said: Yan's calligraphy is unique, changing the ancient method into poetry, Gree Tianzong, choosing romantic style from Han, Wei, Jin and Tang Dynasties, and it is difficult for later writers to recover. ? ⑾ He mainly affirmed the ancient elements in Yan Zhenqing's calligraphy. Huang tingjian thinks? Mr. Dongpo compares himself to strictness and learns from others. Both men are great men. As for cursive script and official script, the atmosphere is slightly similar. ? After reading Dongpo's book, I got the spirit of Yan Xiu, but there is a little omission in the brushwork. Huang Tingjian's calligraphy is not as good as his grass, but his pen seems to have stained the backbone of Lu Gong. Mi Fei was a very stingy calligrapher in Song Dynasty. On the one hand, he belittled Yan's regular script, on the other hand, he praised Yan Zhenqing's cursive script. He said:? Yan's calligraphy can be taught, and it is really vulgar. ? There is a printing smell, Yan Jiesi also. ? Cai Xiang, another calligrapher in the Song Dynasty, attached great importance to the tradition of ancient law, and he should have a profound understanding of the meaning of leaking houses and rainy nights, as evidenced by Huang Tingjian's words. ? Cai's calligraphy is simple and lovely. As for cursive script, it is puzzling that Su Caiweng's house leakage printing method is self-evident. Recently, I saw Chen's lazy cursive writing word paper, which is his talent. ?
For Yan Zhenqing? Leak marks? The true meaning of calligraphy is well understood by calligraphers and scholars in Qing Dynasty. It should be said that apart from the Song Dynasty, Yan Zhenqing's calligraphy thought, especially his relevance? Leak marks? His view of brushwork had a great influence on calligraphy in Qing Dynasty. Several scholars who studied calligraphy in Qing Dynasty were deeply touched. For example, Wang Shu (Shu, Yinshu, Timely Rain) said in Bamboo Yunming:? I have loved Lu Gong's manuscripts all my life, not only because I like his books, but also because they can inspire people's thoughts of loyalty and filial piety. Therefore, I need to pay attention to the statue of Lu Gong at the bottom of my wrist. The so-called ancient hairpin shares, leakage, sharp corners, hidden belly, subtle, can not communicate, pen and ink have their own fit, but not enough. ? ⒂ Wang? Pull out a corner and dive half a belly? It can be said that Yan Zhenqing's brushwork is wonderful. In Qing Yang Bing's big spoon pen, he said: Ancient feet? 、? Leak marks? (Car, split) Great Wall Road? Plain and plain teacher's taste is also the secret of the ages, and I don't like it when I say it outside. ? [14] I love Yan Zhenqing's brushwork. Another scholar, Xu Qian, directly expounded the essence of the leak mark in his "Exploring the Source of Literary Style" and gave a new explanation. He thinks? Leak marks? Brush strokes? Among them, paragraphs are like hidden heads everywhere, full of life and motionless. This method has no name, so it is called. Zhong Ying? . The front of the pen is surrounded by paper on both sides. If it is a sink, the pen core is full of ink, it will be slowly transported out, forming a leak in the house, so that it can play a sealing role. Eating leaves in spring? , is for the whole needle. ?
In creation, many calligraphers in Qing Dynasty inherited Yan Zhenqing's calligraphy. For example, Liu Yong has a good grasp of the fat-ink method, and (Li, a native of Lishui, Hunan, a native of Shuiming) has gained the charm of Yan Zhenqing's calligraphy, explored the spirit of the official seal, and the running script has the air of being printed.
However, from the creative point of view, there are two historical figures that cannot be ignored, that is, Dong Qichang and Ni in the Ming Dynasty. It should be said that for Yan Zhenqing? Leak marks? It is the inheritance and development of Ni's brushwork.
Ni was deeply influenced by Yan Zhenqing's calligraphy. It can be said that he gave a good interpretation of Yan Zhenqing in cursive script. Traces of water leakage in the house? The real meaning. Ni mainly studied Su Dongpo's calligraphy and Wang Xizhi at the same time, and then transferred to Yan Zhenqing. Modern China Calligraphy History Yuan Ming Juan has an accurate description of Ni's calligraphy:? Generally speaking, his longitudinal axis is in tune with that of Zhang Ruitu and Huang Daozhou, with sparse line spacing and dense word spacing, which shows the characteristics of the same era. But his handwriting is vigorous and powerful, ups and downs, and he is good at rubbing, wiping and flying white with a pen. Thirsty pen and thick ink set each other off, so it is rough and vigorous in fluency and contains bone strength in free flight. ? Indeed, in creation, Ni is the calligrapher who knows Yan Zhenqing's missing marks best. Take the laws of past dynasties? Leak marks? There is no other calligrapher like him.