Yan Zhenqing has created a unique realm in the history of calligraphy, and his regular script works are known for their outstanding spirituality and natural vastness. In his later years, he pursued excellence and reached the realm of supernatural beauty. Fan Wenlan once said: "Ou, Yu, Chu, and Xue in the early Tang Dynasty were only the heirs of the Erwang calligraphy, and Yan Zhenqing in the Tang Dynasty was the creator of the new calligraphy in the Tang Dynasty." Yan Zhenqing's regular script has formed a model, and later generations of scholars have followed suit, and there is even a saying that "learning books should learn Yan".
The following will sort out the five aspects of Yan Zhenqing's regular script, hoping to let everyone get rid of the traditional mindset, temporarily put aside the influence of others, and choose the "true love" in their hearts from their own aesthetic perspective:
The newborn work "Wang Lin's Epitaph" is one of Yan Zhenqing's earliest works, written in the twenty-ninth year of Kaiyuan (741), when Yan Zhenqing was only 34 years old. From the perspective of font structure, it is still slightly immature, and the structure of many characters is not stable enough, which is closer to the style of the Sui stele of the previous dynasty. For example, the word "Xu Qiao" shows Yan Zhenqing's writing style at that time, although it is slightly immature, but it also shows his potential.
The newborn work "Wang Lin's Epitaph" is one of Yan Zhenqing's earliest works, written in the twenty-ninth year of Kaiyuan (741), when Yan Zhenqing was only 34 years old. From the perspective of font structure, it is still slightly immature, and the structure of many characters is not stable enough, which is closer to the style of the Sui stele of the previous dynasty. For example, the word "Xu Qiao" shows Yan Zhenqing's writing style at that time, although it is slightly immature, but it also shows his potential.
The mid-term masterpiece "Duobao Pagoda Tablet" was engraved in the eleventh year of Tianbao (752 AD), and Yan Zhenqing was already 44 years old. Compared with the earlier works, Yan Zhenqing's calligraphy at this time is more mature, with a strict structure, round dot paintings, beautiful and strong, showing the characteristics of Shangfa calligraphy. Although the font is relatively small, it still has a majestic and magnificent momentum.
The mid-term masterpiece "Duobao Pagoda Tablet" was engraved in the eleventh year of Tianbao (752 AD), and Yan Zhenqing was already 44 years old. Compared with the earlier works, Yan Zhenqing's calligraphy at this time is more mature, with a strict structure, round dot paintings, beautiful and strong, showing the characteristics of Shangfa calligraphy. Although the font is relatively small, it still has a majestic and magnificent momentum.
The mature work "Magu Xiantan Ji" This inscription work was written when Yan Zhenqing was 62 years old, and the tablet was erected in the sixth year of the Tang Dynasty (771 AD). The work is vigorous and simple, the thickness of the lines tends to be flat, and the strokes are less twists and turns, showing Yan Zhenqing's unique brushwork. The knot of the work is open to the outside, and in order to leave a residual white space in the middle palace of the character and avoid congestion, it has to be expanded to the surrounding areas, showing an outward expansion of the writing style.
The mature work "Magu Xiantan Ji" This inscription work was written when Yan Zhenqing was 62 years old, and the tablet was erected in the sixth year of the Tang Dynasty (771 AD). The work is vigorous and simple, the thickness of the lines tends to be flat, and the strokes are less twists and turns, showing Yan Zhenqing's unique brushwork. The knot of the work is open to the outside, and in order to leave a residual white space in the middle palace of the character and avoid congestion, it has to be expanded to the surrounding areas, showing an outward expansion of the writing style.
The Tang Dynasty masterpiece "Li Xuanjing Tablet" This inscription work was engraved in the twelfth year of the Great Calendar (777 AD), with the characteristics of majestic beauty, ancient vigor, regularity and stability. Each word is square and round, and there are many variations inside. Yan Zhenqing's skillful use of pen and ink makes every word full of variety and charm, which is worthy of deep taste.
The Tang Dynasty masterpiece "Li Xuanjing Tablet" This inscription work was engraved in the twelfth year of the Great Calendar (777 AD), with the characteristics of majestic beauty, ancient vigor, regularity and stability. Each word is square and round, and there are many variations inside. Yan Zhenqing's skillful use of pen and ink makes every word full of variety and charm, which is worthy of deep taste.
The pinnacle of his later years, "Yan Qinli Tablet", this inscription work was signed in the 14th year of the Great Calendar (779), Yan Zhenqing was 71 years old, and his calligraphy had reached its peak. The work is dignified and open-minded, the pen is graceful and generous, and the knots are open and stretched, showing the maturity and stability of Yan Zhenqing's calligraphy in his later years. In particular, the horizontal and vertical brushwork techniques reflect the unique charm of his calligraphy style.
The pinnacle of his later years, "Yan Qinli Tablet", this inscription work was signed in the 14th year of the Great Calendar (779), Yan Zhenqing was 71 years old, and his calligraphy had reached its peak. The work is dignified and open-minded, the pen is graceful and generous, and the knots are open and stretched, showing the maturity and stability of Yan Zhenqing's calligraphy in his later years. In particular, the horizontal and vertical brushwork techniques reflect the unique charm of his calligraphy style.