Yan Zhenqing created a unique realm of calligraphy in the history of calligraphy with "Yan body". His calligraphy is based on excellence in spirituality, and the realm is naturally vast. In his later years, he still sought pure fire and a realm of divine immersion. As Fan Wenlan said: "Ou, Yu, Chu, and Xue of the early Tang Dynasty were only the heirs of the Erwang calligraphy, and Yan Zhenqing of the Sheng Tang Dynasty was the creator of the new Tang Dynasty's calligraphy." Yan Zhenqing's calligraphy has formed a paradigm, and there are many learners in later generations, and there is even a saying that "learning books should be learned".
The following combed through the five faces 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.
1
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.
2
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".
3
Expand and expand
"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.
4
Quaint and elegant, clear and round
"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 word is written within the boundary grid, it still has a strong line of air, and the involvement of words and words avoids all in the pen meaning, which is really a masterpiece of people who are old!
5
Dignified and open-minded
"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 shows a dignified and open-minded posture; the knot is graceful and generous, comfortable and open- and open-minded, the combination of dynamic and static, and the natural atmosphere. The most obvious feature is that it is thin and vertical, especially the words "Zeng, Sun, Zhen, Shu, 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".
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