Pictures of calligraphy works in Yan style and regular script. Appreciation of pictures of ancient poems and calligraphy works in Yan style.

Yan style was created by Yan Zhenqing, a calligrapher of the Tang Dynasty. Together with Liu Gongquan, it is called "Yan Liu", and there is a saying of "Yan Jin Liu Gu". "Yan style" refers to Yan Zhenqing's regular script, which has a square and dense structure, light horizontal strokes and heavy vertical strokes, powerful and round thick strokes, and a solemn and vigorous momentum. What kind of calligraphy works will the ancient poems under Yan style calligraphy look like? Below are the ancient poetry and calligraphy works I compiled for you. I hope it will be useful to you!

Appreciation of ancient poetry and calligraphy works

Pictures of ancient poetry and calligraphy pictures 1

Pictures of ancient poems and calligraphy works in Yan style 2

Pictures of ancient poems and calligraphy works in Yan style 3

Pictures of ancient poems and words in Yan style calligraphy 4 Key points for appreciating Yan style calligraphy

Yan style calligraphy It is a calligraphy style written by Yan Zhenqing, a calligrapher of the Tang Dynasty. Yan Zhenqing (709~785) was a famous calligrapher in the Tang Dynasty. The courtesy name is Qingchen, a native of Jingzhao Wannian (now Xi'an, Shaanxi), and his ancestral home is Langya Linyi (now Linyi, Shandong). Shushi is also called Yan Lugong. He is an upright person. An innovator of calligraphy in the Tang Dynasty, he set a banner for calligraphy in the prosperous Tang Dynasty. Yan Zhenqing learned calligraphy since he was a child, and was taught by Zhang Xu himself. He also learned from Cai Yong, Wang Xizhi, Wang Xianzhi, Chu Suiliang and others, integrating and developing it to form a unique style. His regular script has a square and dense structure, light horizontal strokes and heavy vertical strokes, strong and round strokes, and a solemn and vigorous momentum. He is known as "Yan Ti".

His regular script is contrary to the calligraphy style of the early Tang Dynasty. He uses seal script to transform thin and hard into plump and powerful. The structure is broad and majestic, and the bones are strong and majestic. This style also embodies the great spirit of the times. The prosperous demeanor of the Tang Dynasty is consistent with his noble personality. It is an example of the perfect combination of the beauty of calligraphy and the beauty of personality. His calligraphy style is called "Yan Ti", and together with Liu Gongquan, it is called "Yan Liu", and has the reputation of "Yan Jin Liu Gu".

Ouyang Xiu once said: "Yan Gongshu is like a loyal minister, martyr, moral gentleman. He is strict and respectful. People are afraid of him at first sight, but as time goes by, he becomes more and more lovable." There must be many people who see treasures in the world, but even though there are many, you will never tire of them. Zhu Changwen praised his book: "The points are like falling stones, the paintings are like summer clouds, the hooks are like bending gold, and the weapons are like crossbows. There are images vertically and horizontally, and low and high ambitions. Since Xi and Xian, there has never been anyone like Gong." ?Yan style calligraphy had a profound impact on the development of calligraphy art in later generations. Many famous writers after the Tang Dynasty learned from the success of Yan Zhenqing's reform. Especially for cursive painting, some famous masters after the Tang Dynasty established their own style by learning from Yan Zhenqing on the basis of learning from the two kings. Su Shi once said: "Poetry is as good as Du Zimei's, writing is as good as Han Tuizhi's, painting is as good as Wu Daozi's, and writing is as good as Yan Lugong. The changes in ancient and modern times have made all the things in the world possible." ?("Dongpo Inscriptions and Postscripts")

Yan Zhenqing wrote a lot of steles in his life, and the ones that have been handed down to this day include: "Duobao Pagoda Stele", with a dignified and compact structure, beautiful and colorful; "Dongfang Shuo Painting Praise Stele", with a clear style Vigorous; "Inscription of the Temple of the Golden Heavenly King" is relatively dignified and powerful; "Zang Huaike Stele" is majestic and vigorous; "Guojia Temple Stele" is graceful and smooth; It has charm; "Ode to the Zhongxing of the Tang Dynasty" is carved on a cliff and is Yan Zhenqing's largest regular script. The calligraphy is square and steady, without showing the muscles and bones; "Song Jing Stele", also known as "Song Guangping Stele", has broad and vigorous calligraphy; "Baguanzhai" "Record of Bao De" has a strict atmosphere; "Stele of Yuan Jie" is strong and profound; "Shu of Qian Lu" is solemn and calm; "Stele of Li Xuanjing" has strong calligraphy, but the strokes are thin and different from other inscriptions. "Yan's Family Temple Stele", with rich calligraphy skills, was also his proud work in his later years. Among the handed down ink writings are "Tie for a Seat", "Manuscript of Memorial to Nephew", "Tie of Liu Zhong's Envoy", "Tie of Self-address", etc.

1. Praise for the Portrait of Dongfang Shuo: There are two regular script works in "Praise for the Portrait of Dongfang Shuo", one of which is written by Wang Xizhi in small regular script, and the other is written by Yan Zhenqing in large regular script. The seal on the forehead of this stele was praised and prefaced by Mr. Dongfang, the Taizhong official of the Han Dynasty. Su Dongpo once studied this stele and wrote the following inscription: "Yan Luping wrote stele all his life, but this stele is the only one attributed to Qingxiong." The clearness and distance between the words are not lost. Later, when I saw Wang Youjun's copy, I realized that the words in this book are large and small, but they have a good charm. Ming Dynasty people have said: "The calligraphy is steep and bold, and it is certainly Lu Gong's favorite pen." ?

2. Nephew memorial manuscript: cursive script. Calligraphy is about writing words as the person says them.

Lu Gong was a loyal man, with great integrity in his life, and his spiritual integrity was reflected in his calligraphy. This manuscript is the most popular among book reviewers. This post is a manuscript, with deletions and omissions, which clearly show that Lu Gong conceived the article, with ups and downs of emotions, and no concealment of his thoughts, so he wrote with flying spirit, majestic writing style, and full of natural gestures. All the efforts and mistakes are clearly visible. Throughout the text, a slightly bald pen is used, with a round and strong brushwork, like a flowing seal script. From the beginning to the end, although the ink is dry and the ink is added again, and the ink color is black and gray due to the pause, the black and gray are thick and dry, there are many changes, but it is consistent from beginning to end. Zhang Jingyan of the Yuan Dynasty wrote an inscription and postscript: "A report is not as good as a letter, and a letter is not as good as drafting." The cover is an official work, although the regular script ends in a rope; the letter was written out of a temporary whim, so it was quite indulgent; and the drafting was done unintentionally, because the hand and the palm of the hand were forgetful, which is really wonderful. Yuan Xian Yushu commented on this post as "the second running script in the world". In later generations, this post and "Lanting Preface" were collectively called "Shuangbi".