Yan Zhenqing’s status in the history of calligraphy lies in the fact that he introduced the style of seal script into regular script and cursive script, and created a round pen in regular script that is completely different from Wang Xizhi’s square script in regular script. The following is Yan Zhenqing’s style that I have compiled for you Appreciation of calligraphy works, I hope it will be helpful to everyone, welcome to read!
Appreciation of Yan Zhenqing’s calligraphy works
1. "Manuscript of Memorials to My Nephew"
This is Yan Zhenqing's masterpiece of cursive writing. At that time, it was Yan Zhenqing's fiftieth birthday. There are people in the calligraphy world who say words are like their own. Yan Zhenqing was born into a loyal family and was an awe-inspiring person. This spirit is also reflected in his calligraphy works. From the beginning of the manuscript, through later revisions and improvements, it reflects the characteristics of Yan Zhenqing's writing. He explains the whole process of writing in detail, fully expresses his feelings in the writing, the writing is full of spirit, the writing is vigorous, the characteristics are highlighted, the writing is comfortable and realistic, and all the writing and collection are combined. The lines are all done just right. The whole article uses round and strong brushwork, adhering to the flowing spirit of seal script. From the beginning to the end, although the ink in the brush is replenished when it dries up, the ink color is stopped and new ink is started, and the ink is thick or light, changing in countless ways. But the whole article was completed in one stroke and the writing was smooth. This post was praised by later calligraphy circles as "the second running script in the world".
2. "The Story of the Magu Immortal Altar"
When Yan Zhenqing visited an ancient altar in Magu Mountain, Nancheng County, he discovered fossils of snail and clam shells in the soil. He felt this and wrote "The Immortal Altar of Magu Mountain in Nancheng, Fuzhou". This is not just to describe the incident, but a true portrayal of the mood at that time. The inscription on this stele is solemn, stern, powerful and elegant, and has been highly praised by calligraphers of all ages. It became another masterpiece of Yan Zhenqing when he was in his sixties. This work was created when Yan Zhenqing had already mastered the regular script style. When Ouyang Xiu later commented on this work, he said that the inscription on this stele is handsome and vigorous, the brushwork is precise, and the strokes are powerful. Later generations often praised this stele as "the best regular script in the world." .
3. "Ode to the Portrait of Dongfang Shuo"
"Ode to the Portrait of Dongfang Shuo" is a masterpiece of Yan Zhenqing's regular script. The inscription records the portrait of Mr. Dongfang, a famous scholar in the Han Dynasty. Yan Zhenqing was 46 years old at that time. Su Shi once spoke highly of this inscription, pointing out that among all Yan Zhenqing's works, only this one embodies the clear and powerful style. There is a lot of clarity and abyss between the lines, which is completely different from other versions, but none of them are as profound and meaningful as Yan Zhenqing's work. Some people in the Ming Dynasty praised the calligraphy of this work for its sharp and vigorous calligraphy, and believed that it was indeed another masterpiece of Yan Zhenqing.
4. "The Stele of Yan Qin's Ceremony"
The full name of this work is "The Shinto Stele of Yan Jun, the Secretary of the Tang Dynasty and the Governor of Langkui Prefecture". The inscription on this stele is by Yan Zhenqing The Shinto monument he made for his great-grandfather Yan Qinli when he was 71 years old was mainly used to open roads in front of ancient tombs. Stone pillars were built as signs. This sign was called Shinto, which is what is called a tombstone. The content of the inscription mainly records the merits of the ancestors of the Yan family during their lifetime, and records the great achievements of the descendants of the Yan family. Now this inscription has been designated as a nationally protected cultural relic.
5. "Duobao Pagoda Stele"
The full name is "Duobao Pagoda Induction Stele in Qianfu Temple, Xijing, Tang Dynasty". This inscription is Yan Zhenqing's early proud work. The writing is rigorous and true, inheriting the legacy of Yu , Chu's style, and drew on the calligraphy style of the Tang Dynasty at that time. This shows that Yan Zhenqing paid special attention to absorbing the advantages and characteristics of folk art while humbly asking for advice. He constructed the entire inscription in a tight structure, with powerful and graceful words between the lines and a full stroke. , with the character Zhengfangyuan, is vigorous, powerful and vivid. This is his representative work inheriting the traditional calligraphy style.
Characteristics of Yan Zhenqing’s calligraphy
1. The writing is solid and the writing is strong, but it is also vigorous and enchanting
The initial formation stage of "Yan style" was in Yan Zhenqing 50 years ago. Works at this time, such as "Duobao Pagoda", can be seen from the writing that Yan Zhenqing's main style is a steady and strong pen, solid writing, strong writing, thick pen and ink, and the structure of the characters highlights the firmness, uprightness and stability, which will The words are written in a round sky and a round place, and there are many clear and profound features between the lines. Yan Zhenqing also strives to combine the realm of majesty and enchantment. Every time he writes, he is vigorous and powerful, and his brushstrokes are full of enchantment. His most important works are still mainly real scripts and cursive scripts. He occasionally dabbles in official scripts, seal scripts and other works, but they are few in number.
Yan Zhenqing started from the early Tang Dynasty, but he transcended the old style of the early Tang Dynasty and established his own "Yan style". This was deeply influenced by Zhang Xu.
2. Accurately grasp the font writing and reflect the majestic fonts
"Yan and body" have both form and spirit and are maturing. In fact, Yan Zhenqing was from the age of 50 to 65. During this period, Yan Zhenqing will All emotions are pinned on calligraphy. I repeatedly refined the "face and body" and required my calligraphy to be tangible and spiritual. After repeated practice, I finally achieved success. It can be seen from the works of this period that he increased the strength of his wrists, moved the pen in the center, and adopted the technique of seal seal, turning the circle to hide the edge, just like the font of the clay tablet. The strokes form a rounded head and thin tail, and the straight strokes highlight the momentum of the bow and arrow ready to be fired. Each word follows the writing method of thin horizontally and thick vertically, and the stroke is thinned at the end of the hook to highlight the strength. When writing Na, I adopt the principle of twists and turns to write every kind of turning hook full, domineering, evenly curved, full and powerful. When Yan Zhenqing writes with a folded pen, he adopts the style of lifting the pen and turning it darkly. Judging from the structure of the characters, the characters are upright and grand, the writing is plain and steady, and the fonts are rigorous. The achievements in calligraphy have reached a rare level. Yan Zhenqing has abandoned the previous style of regular script and created a new and powerful "Yan style" with new ideas.
3. The theme of calligraphy highlights philosophy and embodies emotions in calligraphy
In Yan Zhenqing’s later works such as "Yan Qin Li Stele", "Yan Family Temple Stele" and "Li Xuanjing" and other typical inscriptions, Yan Zhenqing mainly focuses on placing fresh vitality in the sophisticated writing, making the writing full of vitality, making the writing dense and dense, showing the proficiency of writing, and revealing himself in the vigorous and round calligraphy style. Unruly and unrestrained. In his later years, Yan Zhenqing focused more on expressing his insights and experiences of life in his calligraphy works, integrating the philosophy of life with calligraphy, and vividly expressing the philosophy of life with the momentum of pen and ink, making his writing full of vitality and vitality.
Yan Zhenqing’s historical status
As one of the three important figures in Chinese calligraphy and regular script, Yan Zhenqing has a lofty status in the history of Chinese calligraphy. However, Yan Kai calligraphy has not received due attention and inheritance in the inheritance process of future generations. Throughout history, Dongpo was the only one who was able to learn beauty and come up with new ideas for thousands of years. In the hundreds of years since the Qing Dynasty, the masters who studied Yan Kaishu include Qian Feng, Tan Yankai, Hua Shikui, etc., among whom Qian Feng was the most successful. "To learn regular script, you should learn appearance, and to learn appearance, you should learn money." It seems to be a rule that one should start with Nanyuan calligraphy when learning Yan. But the face and body are a monument. If you take one step further, you will no longer be the same person. Sticking to the routine will only lead to rigidity. From the perspective of inheritance, the strokes of Qian Nanyuan's regular script are too smooth and clean, especially the two major strokes of horizontal and vertical strokes, which are less vigorous and natural. The structure is a bit artificial, and it is obviously a simplification of Yan style and regular script calligraphy. Simplified understanding leads to simplistic techniques. In fact, this is where the regret lies. Often things that are plain make us feel simple, but the great truth is often contained in fairness. Qian Nanyuan's running script is much better than regular script. Although he still has a typical face, he has a sense of awe and righteousness, which may have something to do with the style of the calligraphy. There are big problems in later generations' understanding of the two kings and Yan Zhenqing. It is difficult to create your own style from the ordinary path. If you have the technical difficulty and can expand it, it will be even more difficult. Zhao Ziang is an exception, and Dong Xiangguang is also an example, but they still follow the running script style of the two kings, and there are too few successful cases of this kind.
Qian Nanyuan's regular script is also broad and broad, with a good atmosphere and pattern, but the flavor of seal script is gone, the simplicity is gone, and the liveliness has also declined. Qian Nanyuan is a warrior. He chose the face and body that is almost impossible to succeed for his artistic purpose, but the result also proved that he did not succeed. If you compare Yan Lugong to a dazzling planet, when you look up, you will find that there is Qian Nanyuan, a not so dim satellite, next to it. Examples of satellites include Wu Ju's relationship with Minangong, Yu He's relationship with Zhao Zi'ang, Wu Kuan's relationship with Su Dongpo, etc.
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