Yan Zhenqing's popularity has always been the top 2 in the history of calligraphy, and the Xingshu has been passed down from generation to generation, and it has strongly won the title of "The Second Book of the World"; while the "Orchid Pavilion Preface" of the first line of the World Book has only a few facsimile copies, so this "Sacrifice Nephew Manuscript" can be regarded as the first of the authentic works.
Yan Zhenqing's writings can jump out of Wang Xizhi's scale and take another path, which is indeed an extraordinary talent. And his calligraphy is the first choice of many beginner calligraphers, but there is a big problem here, the most publications about Yan Kai on the market are "Many Pagodas" and "Yan Qinli Monument", so many friends will feel that the characters on these two tablets are the purest Yan Kai.
And many calligraphy teachers will also use these two books as the "best" learning materials when recommending the temporary study model, but Yan Zhenqing's calligraphy is very many, how can these two tablets be used alone to give a general summary, which is extremely misleading! Therefore, the following is for you to comb and sort out the various aspects of Yan Zhenqing's book, hoping to make everyone get rid of the "convention" routine, but also temporarily put aside the influence of others, from their own aesthetic point of view to choose the "true love" in their hearts.
01
Meng Xin Zhenqing
"Wang Lin's Epitaph"
"Wang Lin's Epitaph", excavated in Zhanggou Village, Longmen Town, Luoyang in 2003. Yan Zhenqing's book, written in the 29th year of the new century (741), is the earliest work discovered by Yan Zhenqing, when Yan Lugong was only 34 years old. It can be seen that Yan Zhenqing, who has just passed the age of establishment, is still slightly immature, the structure of many characters is not stable enough, and the glyphs are closer to the former Sui Dynasty stele, and there is no typical Tang Dynasty atmosphere.
For example, the word "Xu" is too towering, and the "Ren" character on the right "Yu" is shaped like a paper umbrella that has not been opened; the "mountain" part on the left side of the "Ling" character is equal in height to the "Yao" part on the right, while the emptiness under the "Mountain" part is unsupported, and the left vertical of the "冋" below the "冋" part is also relatively thin, resulting in the entire glyph hanging in the air. However, this Xu Zheng, who wrote the article, was in his fifties at the time, and he was a heavy minister in the DPRK, and he could relax his heart and let the young Yan Zhenqing cooperate with him, which was also a wise eye.
02
Begun
"Guo Xu's Epitaph"
"Guo Xu has been excavated in 1997 by Yanshi in Henan Province" At this time, Yan Zhenqing was 43 years old and had entered the age of confusion. The calligraphy is much more stable, the glyphs have changed greatly compared with 9 years ago, and it is almost close to the style of "Many Pagodas" that we generally remember. Looking at the single word, it is more or less inclined to the upper right, and the horizontal painting retracts the pen with decorative lower dun, such as the long horizontal of the word "true", which is obviously deliberately pressed at the end of the section.
A similar situation occurs in the three consecutively written words "ugly", "xia", and "six", emphasizing the action of closing the pen. At this time, the painting has gradually stiffened, and the strokes of "Heaven" and "Tai" are as crisp and painful as a wide-bladed knife. The lines are full of tension, such as the parallel vertical paintings in the words "Lang", "Line", and "And", although opposite, they all have a tendency to be skimmed, which is a typical Yan Kai structure, which shows that At this time, Lu Gong is already thinking about forming his own road number.
03
Ten years
"Many Pagoda Tablets"
"Duo Pagoda Stele", tianbao eleventh year (752 AD) carved in Shaanxi Xingping County Qianfu Temple, Song Dynasty moved xi'an stele forest. At this time, Yan Zhenqing was 44 years old. Just ten years have passed since the early "Wang Lin's Epitaph", which can be described as a trace of ten years. The whole article is strictly structured, the dot painting is round, beautiful and strong, and there are obvious similarities with the Tang Dynasty's writing of the scriptures, which is a representative of the "Shangfa" writing style of the Tang Dynasty.
Everyone should pay attention to the fact that the single character of "Duo Pagoda Stele" is about 2.5cm * 2.5cm, and it is the way the Tang Dynasty wrote the scriptures. Everyone who has seen Dunhuang's scripture scrolls may have an impression, that is, about 1 centimeter square, so the "Duo Pagoda Stele" is more inclined to Xiao Kai. We beginners choose it as a model, generally used to write relatively large words, at least 5 centimeters or even 10 centimeters square of the middle or large letter, this invisible amplification has caused a lot of misunderstandings.
First of all, the pen is completely different, because the size of the brush is already very different; secondly, the structure is also very different, just imagine how small characters can write a sense of grandeur? And what Yan Zhenqing conquered most was that his words had the posture of opening up outwards, and small characters could not be carried. Therefore, everyone must be careful about these places when studying the "Multi Pagoda Monument".
04
The first appearance of weather
"Oriental Shuo Painting Praise Monument"
"Oriental Shuo Painting Praise Monument", in the Cunling County Cultural Center, is Yan Zhenqing's book when he was 45 years old. Less than a year away from "Duo Pagoda Stele", Yan Zhenqing showed a different face. The font of "Oriental Shuo Painting Praise Monument" is dignified and majestic, and the momentum is open, and the "Multi Pagoda Monument" can only be regarded as Qingxiu in comparison.
After all, the big characters are written in letters, the strokes are more substantial, and the lines have more meaning of seal books. In a single word, it still adopts a tilted posture to the upper right as before. For example, the word "doctor", skimming is longer than painting, which is actually contrary to our general writing habits. At this time, Yan Zhenqing had not yet fully mastered this technique, so both words adopted the same form, causing monotony, and also causing a sense of instability that fell backwards.
Compared with the previous stele, the "Oriental Shuo Painting Praise Stele" strengthens the thickness of the line, the long horizontal of the three words "square", "first" and "sheng" are all trying to face the upper right, and the pen is rapidly falling, and the two ends of the long line are on the upper middle of the lower part, like a flat burden that picks up heavy objects, and the internal gathering of strength is very attractive.
05
Pursue fairness
Inscription on the Shrine of the Gurudwara King
"Inscription on the Shrine of the Gurudwara Heavenly King", excavated from Huayue Temple in Huayin County, Shaanxi Province in the middle of the Qing Dynasty. Tang Qianyuan wrote the book in the first year of the Yuan Dynasty (758) when Yan Zhenqing was 50 years old. In the year of knowing his destiny, Yan Zhenqing did not seek danger, the same is a large character, much more flat than the previous "Oriental Shuo Painting Praise Monument", taking the "Tian" character as an example, first of all, the degree of inclination is no longer fierce; secondly, the length of the painting is almost the same.
Looking at the word "ancestral hall" again, the long vertical line next to the word is quite solid, and the vertical hook of the "division" department is also slowly flattened out after it has been stationed. Another example is that the hook of the "E" word is not dashing at all, only stable, the center of gravity is reduced, and only a slightly larger circle is made to the right when the lower part is almost to the end. If the overall feeling of the "Oriental Shuo Painting Praise Monument" is still biased, the words in the "Inscription of the Shrine of the Golden Heavenly King" are more square, and the rectangle gradually moves towards the square.
06
Keep it straight
"The Tale of the Fresh Yu Clan"
"Xianyu Shi Lidui Record", the original site of the stele was found in Sichuan, Qingjiaqing, only five pieces of residual stones remain, a total of 47 whole characters and 7 residual characters. This inscription is three inches large and was made by Yan Zhenqing when he was 54 years old. The pursuit of Pingzheng was Yan Zhenqing's main goal during this period, and the words at this time were thicker and more plain than before. Still take the words "big" and "too" as an example, the two words are longer than the skimming, which is very much in line with our current habits of writing. Looking at the word "state" again, the three verticals standing side by side are all vertically tied down, without the slightest deviation. The long horizontal of the "Yang" part of the right side of the word "Yang" has also been completely horizontal, no longer facing the upper right, and the whole word is very stable.
07
Get rid of habits
Guo Family Temple Monument
"Guo Family Temple Stele", this stele is the family temple stele erected by Guo Ziyi, a famous minister of the Tang Dynasty, for his father Guo Jingzhi, which was old in the Office of the Cloth Administration department of Xi'an Province, Shaanxi Province, and was moved to the Forest of Steles in Xi'an in 1950. He was founded in the second year of Guangde (764), when Yan Zhenqing was 56 years old. Although it is a middle kai, it can be ancient and majestic, with thick connotations and loose and smooth. It's like "silver hook iron painting, dragon jumping tiger lying down". The writing of Zhongkai is different from that of Dakai, and the functions are different, Yan Zhenqing is still a bit inclined, which is also a common phenomenon of stele calligraphy at that time.
However, it is very different from "Duo Pagoda", the character knot of "Guo Jia Miao" is longer, and the inclination is not large, so it still looks relatively positive, and the word "book" is an example. And Yan Zhenqing sometimes deliberately counteracts the sense of inclination, such as the vertical hook next to the handle of the word "writing", which is not vertically downward but slightly tilted to the left. The most different from the previous words at this time, in the horizontal painting, there are few particularly eye-catching next tons at the end of the pen, but the circle is recycled downwards, and it is much more peaceful and natural. Yan Zhenqing should be aware that the modified strokes are too cumbersome and deliberate, and need to be simplified.
08
Open and open
"The Tale of the Immortal Altar of Magu"
"Magu Immortal Altar", written by Yan Zhenqing at the age of 62. The monument was erected in the sixth year of the Tang Dynasty (771 AD), and was later destroyed by lightning. The inscription is vigorous and simple, the bone strength is straight, the change in line thickness tends to be gentle, the strokes are less twisted, and the "silkworm head swallowtail" is produced when using the pen, which has the meaning of the seal. Because of the thick lines, in order to leave a white space in the middle palace of the character and avoid congestion, it had to try its best to expand to the surrounding areas, and the outward writing method was pushed to the extreme.
For example, the space occupied by the two points under the "Yan" character "page" is very limited, resulting in a cramped situation, and the glyph shape not only does not collapse, but also appears stable because the center of gravity sinks. Another example is the two points below the word "true", narrow and narrow, and above it is a long horizontal that breaks through the vertical potential, creating a conflict between length and shortness, weight, vertical and horizontal, positive and oblique, etc., such a deformation makes every word worth pondering and never tired of looking.
Many wonderful compositions are reflected in very inadvertent places, the word "book" is interlaced up and down, and the "day" part below is not in the middle of the long vertical, but slightly shifted to the right, and the changes between the staggers are numerous. The two vertical paintings of the word "hemp" are very long, and the long apostrophes have not been able to cover it, and the whole word relies on two hooks to stand on the ground, and the two hooks are flat and one is upturned, which is by no means the same. "The Tale of the Immortal Altar of Magu" looks square and square, but it is quite exquisite and worthy of further speculation.
09
Majestic
Ode to Datang Zhongxing
"Ode to The Tang Dynasty Zhongxing", carved in June of the sixth year of the Gregorian calendar on the cliffs of Qiyang Xi in Hunan Province, Yan Zhenqing was 63 years old at the time. This product belongs to the cliff stone carving, different inscriptions, more wind and sun, many mutilations. It is said that the Song Dynasty poet and calligrapher Huang Tingjian went to Huanxi several times to learn Yan characters, although the specific details are unknown, but the back of the cliff is engraved with Huang Tingjian's inscription, and there was a poem cloud: "The big characters have not been "Crane Ming", and there is a famous cliff "Ode to Zhongxing" in the evening", which is sincerely admired and true.
"Ode to Zhongxing" is larger than the characters of "Magu", and it is engraved on the stone wall of the mountain, so it appears more authoritative. And the strokes are slightly damaged, a thick and thick, the lines are vigorous, quite a taste of gold text. For example, the word "big", the long horizontal is not pulled by a stroke, but the slow line of the pen is pushed forward step by step, and the feeling of retention is vividly expressed to the extreme; although it is thin, it does not dare to ignore laziness, all use the center, without any false tip.
10
De-fattening
"Zang Huaike Monument"
"Zang Huaike Monument", written about the seventh year of the Gregorian calendar (772), was originally in Sanyuan County, Shaanxi, now the Forest of Steles in Xi'an, Tibet, and Yan Zhenqing was written when he was 62 years old. The overall appearance is rich and strong, and although the lines are thin, they are tall and sharp. Looking at the long horizontal is indeed not much embellishment, the whole word is refreshing, but it is not frivolous, each stroke frame is solid, and the asana is more like a seal book (not that the lines have a seal). Compared with other Yanshu inscriptions, it can be seen that this stele uses the essence of the pen, and wang Shizhen, a famous scholar of the Ming Dynasty, uses the word "Weijin" to summarize, which can be described as accurate.
11
Be upbeat
"Yuanji Mountain Monument"
"Yuan Ci Mountain Stele", the stele was originally in front of the tomb of Qingling Yuanjie in the north of Lushan County, Henan Province, and is now located in the lushan high school in Lushan County, lushan County, and there is a stele pavilion built in the Ming Dynasty to shield it from wind and rain. Yan Zhenqing personally wrote and wrote a eulogy for his friend Yuan Jie at the age of 63 in the seventh year of the Gregorian calendar (772 AD). The handwriting is thick and strong, vigorous and beautiful, and full of the majestic righteousness that does not bend.
Although it is only an inscription, the emotions in the interior are very strong, the writing speed is not slow, and it seems that it does not care about the arrangement, only the chest of a book, so the one-word law degree may not have been perfected, but it is very natural and interesting. The three vertical characters of "zhou" are different in thickness and thickness, and the tendencies are different; the "shi" character is vigorously heavy and wants to break through the plane; the two "guo" characters form one side and one circle, one oblique and one positive. The lines are mixed and straight, into the wood three points; the dot painting is calm, and the rocks and clouds collapse.
12
Abundance and lightness
"The Monument to the Release of the World"
"The Monument to the Release of the Pond under heaven", written by Yan Zhenqing in the winter of 759, re-written in large characters in March of the following year, re-written in July 773, and posthumously built in Huzhou. The original inscription of the Song Dynasty has been lost. It is relatively close to "Zang Huaike Monument", and the strokes are not thick, belonging to the hard and thin faction. However, the lines of the "Release Monument" are ups and downs, and there is a process of gradual advancement.
Typical "batch" word, the vertical hook is not a stroke falling, but through the transfer of the rich stroke, so the presented stroke will not be decisively smooth, but there is a sense of frustration; "batch" word " than the "left side of the dagger" one of the vertical two strokes, first to the right down the pen and then to the left of the fold, a bit of overlapping brushwork meaning.
13
Retract and retract freely
"Eight GuansaiHui Bao DeJi"
The Eight Guanzhai Hui Bao De Ji (八關斋会報德記), this inscription is as large as a fist, and was carved on the eight-sided stone building in the seventh year of the Tang Dynasty (772). When Emperor Wuzong of Tang destroyed the Buddha, he destroyed its five faces. In the third year of Tang Dazhong, the county sheriff urged it to complete it according to the Tuoben, and the monument pavilion was added during the Ming Jiajing, and the Japanese army tried to steal this monument during the War of Resistance Against Japan, but kept it under the efforts of the local military and people, and the pavilion was destroyed during the Cultural Revolution.
"Eight Guanzhai" is round in body, the pen is quite submissive, the penmanship seems to be scattered and condensed, and the dissipation is more refined to the point of strictness. For example, the "eight" character painting is also a wave of three folds, taking three kinds of trends; the word "Zhai" is large and small, the upper and lower are tight, and the upper and lower parts are stretched, drawing on the knot body of the Lishu. Kang Youwei's "Guangyi Zhou Shuangyi" said: "The flesh and bones of the Eight Guanzhai are evenly stopped, and they will never be reserved to make qi. "Wide and round, majestic and super-vulgar, kang Youwei called "sincere for the masterpiece".
14
Ethereal
Song Guangping Monument
The Song Guangping Monument was erected in Shahe County, Hebei Province in the seventh year of the Gregorian calendar (772). After the Song Dynasty, the monument was broken when it was unearthed in the middle of the Ming Dynasty. Liu Xizai: "Lu Gongshu's "Song Guangping Stele", which is full of remnants, is extremely delicious. To the predecessors said that it came out of the "Crane Ming", it is also a zhiyan. ”
From the structural point of view, it is still roughly recognizable that it is Yan Zhenqing's work, but the difference with other inscriptions is also huge. "Song Guangping Stele" will not give people a sense of decency, "Lu", "drama", "Kuang", "save" and other words with the pen is virtual and real, if there is nothing, but still the pen is continuous, the habits of youth are nothing, only a vast immortal qi. If it is said that "Duo Pagoda" is closer to the Buddha, "Song Guangping Monument" is closer to the work of the Taoist.
15
See carved like a book
The Book of Ganlu Characters
The Book of Ganlu Characters, which was erected in the first month of the ninth year of the Gregorian calendar (774), was 66 years old when Yan Zhenqing wrote this stele. The original carved stone was re-engraved in the fourth year of Kaicheng (839) due to the expansion of the mold, and then gradually erased.
The characters of this stele are relatively small, and there are even smaller annotations, Ouyang Xiu's "Collection of Ancient Records" Yun: "There are many stone carvings in the Lu Gongshu and there are very few small characters, but this annotation is the smallest, and the pen strength is strong and law-like, especially it is advisable to cherish it." If you use the "Self-Book Confession" as a comparison, you can know that the inscription has a strong scroll atmosphere, so the characters are freely oriented, the pen is crisp, and the decorative meaning of the dot painting is abandoned, and it is all written for practical purposes.
16
Quaint and clean
"Li Xuanjing Monument"
The "Li Xuanjing Monument", erected in the twelfth year of the Great Calendar (777) in Maoshan Yuchenguan, Jurong County, Jiangsu Province, was broken in the seventh year of Shaoxing in the Southern Song Dynasty (1137), and was crushed by flint in the third year of Jiajing in the Ming Dynasty (1524). "Li Xuanjing Monument" is majestic and magnificent, tall and vigorous, regular and stable; the pen strength is deep and subtle, and the knots are open and stretched. Liang Yunyun's "Li Xuanjing Monument": "At first glance, it looks extremely scattered and clumsy, and it is uneven, but in fact, the ancient meaning is acceptable, which is not within the reach of "Portrait Praise" and "Zhongxing Song". ”
Almost every word is a square circle, compared to the "Magu Immortal Altar", the internal changes are even more than that. The word "Tang" has a clear arc and is not straight; the middle of a short vertical is also folded to the left, but it is not parallel to the long apostrophe, '"Tang" character has a lot of short horizontal inside, Yan Zhenqing wrote it to be familiar with ease, light and heavy, long and short, bias are different. Note that the word "mountain" is long and horizontal at the bottom, the left end is like a mention, the right end is flat and taking over, and the two strokes of one stroke are very exquisite.
Looking at the word "Mao" and the word "first", the former has a low center of gravity and the latter has a high center of gravity, and a word is crooked, and a word is tight. The "Li Xuanjing Stele" goes far beyond the single word to provide us with thinking, and the arrangement of the chapters and the connection between the words are quite exquisite. The magic of this monument is that although each son is written within the boundary grid, it still has a strong line of air, and the involvement of words and words avoids all being played in the sense of writing, which is really a masterpiece of people who are old!
17
No more flattery
"Yan Qinli Monument"
The Yan Qinli Monument, self-signed and erected in the fourteenth year of the Gregorian calendar (779). Yan Zhenqing is 71 years old, has entered the realm of transformation, and when he comes to him, he appears dignified and open-minded, and his posture is dignified and open-minded; the knot is graceful and generous, comfortable and open, the combination of movement and stillness, and the combination of cunning and clumsiness. The most obvious feature is that the horizontal is thinner and the vertical is thicker, especially the words "Zeng", "Sun", "Zhen", "Book", "Yi", "Gao" and so on.
Yan Zhenqing's later calligraphy did not pursue the aristocratic mood of "diluting and idyllic", but out of a more approachable, more understandable, more neat and disciplined worldly demeanor; creating a new calligraphy aesthetic that "no longer thinks of flattery".
18
Introverted
"Yan Family Temple Stele"
"Yan Family Temple Stele", written and written by Yan Zhenqing for his father Yan Weizhen, was engraved in the first year of Tang Jianzhong (780), Yan Zhenqing was 72 years old, and the original stele is now in the Forest of Steles in Xi'an. The Sui Dynasty and the early Tang Dynasty's calligraphy is mostly based on the length of the finger of luck, and the knot is left and right, showing a sideways trend. Yan Shu strengthened the role of wrist strength, skillfully using Tibetan fronts and center forwards to form the effect of penetrating the back of the paper.
The horizontal painting of this stele is flat, and the left and right vertical pens are slightly curved inward, which not only creates a sense of solemnity, but also makes the whole structure round and thick, full of strong inner strength. It's all innovation that breaks through the old pattern. The "Ink Pond Compilation" said that the body of this stele was "solemn and solid"; the Qing Dynasty scholar Sun Chengze commented on this: "Lu Gongzhong's filial piety was planted in nature, and he devoted himself to writing this stele, and the strange steep and strict, all his life Geng Geng was a great festival, and he was already like a precursor of the obvious quality." Yan Zhenqing's books are integrated, leaving the greatest back for future generations.
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