Yan Zhenqing's Regular Script Calligraphy Stele

Yan Zhenqing's regular script copybook mainly included the following aspects: 1. The structure was square and dense. Yan Zhenqing's regular script copybook was featured by a square structure and a compact font. The overall font presented a rich, vigorous, and majestic style. 2. The strokes were light horizontally and heavy vertically. In Yan Zhenqing's regular script, the horizontal strokes were relatively thin, while the vertical strokes, dots, and strokes were relatively thick, showing the characteristics of light horizontal and heavy vertical strokes. 3. Thick and vigorous strokes: In Yan Zhenqing's regular script copybook, the strokes were strong and powerful, and the ink was thick, giving people a calm and powerful feeling. 4. The knot is wide and broad: In Yan Zhenqing's regular script copybook, the font is wide and broad, the white cloth is even, the font is slightly square, dignified and stable, full of righteousness. 5. Yan Zhenqing had created a unique Yan Style, which was unique in the history of calligraphy. Yan Style had outstanding emotions and spirituality. The thoughts of writing were naturally strange, expressing a rich understanding of life, and the realm of thought was grand and open. In summary, Yan Zhenqing's regular script copybook had the characteristics of a square and dense structure, light strokes, thick strokes, broad strokes, and a unique "Yan Style" style.

Yan Zhenqing's best choice for learning regular script was the Pagoda Stele. This copybook was Yan Zhenqing's work when he was 44 years old. It was considered to be his representative work in his early regular script. It didn't have the feeling of expansion of the later inscriptions. The horizontal slope was larger, and it didn't have the flat old air of the later years. [Pagoda Stele] was a book that was very suitable for beginners.

Yan Zhenqing's small regular script works include "Magu Immortal Altar Record."

Yan Qinli Stele was one of the representative works of regular script written by Yan Zhenqing in his later years in Tang Dynasty. It was a Shinto Stele written by Yan Zhenqing for his great-grandfather Yan Qinli. It was erected in the 14th year of the Dali Dynasty (779). The stele is now in the Forest of Steles Museum in Xi'an, and there is also an initial rubbing in the Palace Museum in Beijing. There were a total of 19 lines of words in Yang and 20 lines of words in Yin, with 38 and 37 words per line respectively. This stele was featured by its fine strokes, broad strokes, and strong momentum, showing the aesthetic fashion of the prosperous Tang Dynasty. It was Yan Zhenqing's mature calligraphy work in his later years, and it was also one of the models for many beginners to learn Yan Style.

Yan Zhenqing's regular script was a work that was worth copying. Among them, the most famous works included Yan Family Temple Stele, Pagoda Induction Stele, Magu Immortal Altar Record, Dongfang Shuo Portrait Praise, Yan Qinli Stele, and so on. The method of copying Yan Zhenqing's regular script was to first read through it to understand the meaning of the original text and the structure of the copybook, and then draw it or copy it. Handwriting could deepen the memory and improve the memory effect. Yan Zhenqing's copying of regular script was very helpful for beginners. It could help them learn and understand the basic skills and styles of calligraphy.

Yan Zhenqing's " Pagoda Stele " was a model for the introductory teaching of calligraphy. This tutorial was based on Yan Zhenqing's work and explained the basic strokes and components of regular script in detail. The tutorial used the trajectory of the brush to match the painting, and through the illustration method, the calligraphy teaching was more intuitive and clear. The tutorial also included theoretical and creative guidance on the layout, rules, and methods of signing. In addition, the tutorial also provided practice on the word 'Fan' for the students to practice and create reference. This tutorial was recommended by the Ministry of Education and was considered one of the best models for learning Yan calligraphy.

Yan Zhenqing (709 - 784) was a famous calligrapher and official of the Tang Dynasty. He was good at running script and regular script, and his calligraphy works were exquisite. Yan Zhenqing's regular script was dignified and majestic. It was known as the "Yan Style" and had a great influence on the development of calligraphy in later generations. Together with Zhao Mengfu, Liu Gongquan, and Ouyang Xun, he was known as the Four Great Masters of Regular Script. Together with Liu Gongquan, he was also known as Yan Liu. Together, they were known as Yan Jin Liu Gu. Yan Zhenqing's calligraphy works were recognized as authentic except for the "Sacrifice to Nephew Ji Mingwen's Manuscript". The authenticity of other works was still controversial. He was also good at poetry, but his works such as "Yun Hai Jing Yuan" and "Li Yue Ji" had been lost. Yan Zhenqing's calligraphy style was magnanimous, heavy, simple, and serious. He was known as a giant in the history of Chinese calligraphy.

Yan Zhenqing was a famous calligrapher in the Tang Dynasty. His calligraphy works had a unique style and characteristics. Among them, one of his representative works was the "Sacrificial Nephew Manuscript". This work displayed the characteristics of Yan Zhenqing's cursive calligraphy. The font was powerful, the structure was compact, and the emotions were sincere. It was hailed as the second semi-cursive script in the world by the calligraphy world. In addition, Yan Zhenqing's "Multi-Pagoda Stele" was also his early masterpiece, showing his steady, strong writing technique and broad momentum. Yan Zhenqing's calligraphy works were magnificent and had the atmosphere of the prosperous Tang Dynasty. At the same time, it also reflected his noble personality and integrity. His calligraphy works were widely praised and recognized in terms of both art and personality.

Yan Zhenqing's representative works of calligraphy included "Sacrifice to Nephew Manuscript,""Pagoda Stele,""Yan Qinli Stele,""Magu Immortal Altar Record,""Ode to Resurrection," and so on. These works displayed Yan Zhenqing's unique calligraphy style and techniques, such as horizontal fine and vertical thick, thin and thick, left fine and thick right, etc. Among them,"Sacrificial Nephew Manuscript" was praised as "the second semi-cursive script in the world" by the later calligraphy world, and "Pagoda Stele" was Yan Zhenqing's early proud work.

Yan Zhenqing's calligraphy has the following characteristics: big, heavy, simple, thick, strict. His handwriting was bold and heroic, giving people a feeling of manliness. Yan Zhenqing's handwriting was heavy and his strokes were forceful, giving off a sense of power. His handwriting was simple and unadorned, without any fancy. Yan Zhenqing's calligraphy structure was square and dense, his strokes were light horizontally and heavy vertically, his strokes were vigorous, straight, open and vigorous. His words were firm and firm, but he was not lacking in vigor and enchantment. In general, Yan Zhenqing's handwriting was majestic, powerful, and simple.