Yan Zhenqing's Regular Script Calligraphy Introduction

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 regular script 'Diligence Stele' was one of his representative works in his later years. This copybook was based on the tombstone that Yan Zhenqing had written for his great-grandfather, Yan Qinli. It was engraved with Yan Zhenqing's unique style of regular script. The structure of the Diligence Ceremony Stele was solemn and open-minded, relaxed and cheerful, combining movement and stillness, clever and clumsy, graceful and generous. Yan Zhenqing's brush strokes are horizontal, thin and vertical, thick and thick. He hides his head and protects his tail. He uses both square and round strokes. He is vigorous and powerful. His brush strokes were varied, and there were subtle changes in his strokes. They were vivid and colorful, and had a strong sense of rhythm. This copybook showed Yan Zhenqing's maturity and exquisite calligraphy skills in his later years. The Diligence Stele was Yan Zhenqing's masterpiece in his later years, and it had the atmosphere of the Tang Empire. It had completely shed the body of the early Tang Dynasty and displayed Yan Zhenqing's unique style and talent. This copybook was a valuable model for those who learned Yan Style Regular Script.

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

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 calligraphy works include Yan Qinli Stele, Li Xuanjing Stele, Xianyu's Lidui Record, Guo Family Temple Stele, Duobao Pagoda Stele, Sacrifice Nephew Manuscript, Liu Zhong's Envoy Post, Self-writing Post, Fighting for Seat Post, Dongfang Shuo Painting Praise, Yan Family Temple Stele, Magu Immortal Altar Record, Resurrection Ode, etc. Among them, Yan Qinli Stele showed Yan Zhenqing's mature writing technique and structural design, Li Xuanjing Stele had the meaning of seal script, Xianyu's Lidui Record and Guo Family Temple Stele showed Yan Zhenqing's variation in calligraphy style, Duobao Stele was a regular script calligraphy work, regarded as the highest peak of Yan Zhenqing's regular script, and Sacrifice to Nephew Manuscript was his running script work, which was now collected in the Palace Museum in Taibei. Self-written Body Invitation was his official calligraphy work. These works reflected Yan Zhenqing's creativity and unique calligraphy style, which was widely studied and appreciated by later generations.

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.

The following are a few regular script works suitable for beginners to copy: 1. [Ninety percent Palace Almond Spring Inscription] was one of Ouyang Xun's representative works. Its font was simple and its structure was rigorous, suitable for beginners. 2. The Multi-Pagoda Stele was one of Yan Zhenqing's representative works. The font was neat and suitable for beginners to practice their basic skills. 3. The Mysterious Secret Tower Stele was one of Liu Gongquan's representative works. It was square and suitable for beginners to practice. These works displayed the artistic charm and cultural value of regular script, and were one of the representative works of Chinese calligraphy culture.