Yan Song's authentic calligraphy appreciation photos

Yan Qingxiang was a Chinese calligrapher. His calligraphy works had won many awards in international and domestic competitions. His works have been published in national, provincial, and municipal newspapers and magazines, as well as "A Selection of Modern Chinese Calligraphy Works" and other journals. Although the search results did not specifically show Yan Qingxiang's calligraphy works, it was certain that he was a well-recognized calligrapher, and his works had a certain influence in the art world.

We can conclude that Cao Zhi's calligraphy works do exist. In the search results, there was a post called " Cao Zhi's Long Manuscript ", which contained 14 essays written by Cao Zhi himself in Zhang Cao calligraphy. These authentic works existed in the form of ink, and the words were clear and elegant. In addition, there was also an article called 'Cao Zhi's Stele' that mentioned Cao Zhi's original inscription stele, which included Cao Zhi's original inscription stele. However, these search results did not provide more detailed information about Cao Zhi's calligraphy, such as the specific exhibition location or collection organization. Therefore, we are unable to provide a more specific answer.

To identify the authenticity of Liu Yong's calligraphy, the following aspects could be considered: 1. Form of brush and ink: The form of the brush and ink of an authentic work should be smooth and free. The brush and ink should be reunited, and the strokes should be smooth without obvious trembling or dragging. At the same time, the authentic strokes should have a certain texture and strength and not be too soft or too stiff. 2-shaped structure: The original font structure should be precise, dignified, and coordinated. The relationship between the strokes should be close and there should be no obvious difference in density. At the same time, the font of an authentic work should have a certain amount of change and movement instead of being too rigid or monotonous. 3. Sense of breath: The sense of breath of an authentic work should be natural, harmonious, elegant, and have an internal sense of rhythm. At the same time, authentic works should be able to feel the author's unique style and personality, not overly imitating or plagiarizing. 4. Historical background: The historical background of an authentic work should be clear and consistent with the author's identity and status. At the same time, the historical value of the authentic work should also be recognized as having a relatively important status and value. It should be noted that the above was only some aspects of the authenticity of the appraisal. In fact, it still needed to be combined with various factors to make a comprehensive judgment. Therefore, it was best to seek the help of a professional appraisal agency or an experienced calligrapher when identifying an authentic work.

Fan Jianhua's calligraphy works did not mention the specific content or style in the search results provided. Therefore, the information provided about Fan Jianhua's appreciation of calligraphy was not enough to answer this question.

The cursive script was an art form of Chinese calligraphy. Its characteristics were that the strokes were bold and unrestrained, full of changes, and often appeared in the form of continuous curves and strokes. Cursive script was known as the most difficult calligraphy style in Chinese calligraphy because it required the calligrapher to have superb pen and ink skills and aesthetic ability. Cursive script was widely used not only in calligraphy exhibition but also in painting, poetry and other fields. In calligraphy appreciation, cursive script is often regarded as a unique art form because it has a unique beauty and expression. The characteristics of cursive strokes included: One stroke was unrestrained and full of changes. Cursive calligraphers usually used continuous curves and continuous strokes to make the strokes appear smooth and dynamic. 2. The font was uneven in density and fat and thin. The cursive script was often composed of multiple parts, and there was a certain amount of space and density between each part. 3. The pen is concise and the ink is dripping. The strokes of cursive script were very concise and usually did not require too much ink. The fluency and change of the strokes were the main emphasis on the structure and overall effect of the characters. 4. Pay attention to charm and pursue artistic conception. A cursive calligrapher would usually pay attention to the charm and artistic conception of the words. Through the changes and combinations of strokes, they would express a unique artistic conception and beauty. Cursive script played a very important role in Chinese calligraphy. It required calligraphers to have superb pen and ink skills and aesthetic ability, as well as rich imagination and creativity. In calligraphy appreciation, cursive script was often regarded as a unique art form that could bring unique aesthetic experience and feelings to the audience.

Yan calligraphy was a style of calligraphy created by Yan Zhenqing, a calligrapher of the Tang Dynasty. Yan Zhenqing's calligraphy style was rich and full, with large and upright strokes and structures, a majestic and magnificent momentum, a broad and dignified character, and a technique of using seal characters to enter regular script and stippling. Yan calligraphy had unique emotions and spirituality, and the writing was natural and strange, showing Yan Zhenqing's rich state of thought. Yan Zhenqing's calligraphy style was unique in the history of calligraphy and was widely praised and imitated. Yan calligraphy had an important influence on the development of Chinese calligraphy, and it still holds an important position in contemporary calligraphy.

Wu Zetian's only authentic calligraphy was the Stele of the Immortal Prince. This was an inscription written by Wu Zetian in 699 AD. On the surface, it told the story of Prince Ling of Zhou becoming an immortal, but in fact, it praised the prosperity of the Zhou Dynasty. The calligraphy style of the Stele of the Immortal Prince was graceful and smooth. It was regarded as a calligraphy art treasure. The inscription had 33 lines, 66 words per line. It was written in semi-cursive script and cursive script, which was similar to Zhang cursive script. On the top of the stele, the words 'Stele of the Immortal Prince' were written in a 'flying white' style, and the strokes were white. In addition, the top and bottom of the inscription, as well as the miscellaneous poems and titles of "You Xian Pian" on the back of the inscription, were respectively written by famous calligraphers Xue Ji and Zhong Shaojing of the Tang Dynasty. After more than 1300 years of ups and downs, the Stele of Prince Ascending to Immortal still stands on the top of Gou Mountain in Yanshi City, Henan Province. It has been announced by the State Council as the sixth batch of national key cultural relics protection units.

The Song of Tomorrow was a form of poetry in ancient China and was written by Wang Zhihuan, a famous frontier poet in the Tang Dynasty. The Song of Tomorrow's calligraphy format was usually written in official script or regular script. The style was simple, bright, and rhythmic. When writing the Song of Tomorrow, one would usually pay attention to the continuity and fluency of the strokes to make the font appear concise and clear, and the overall effect was beautiful.

Yan Zhenqing was a famous calligrapher in the Tang Dynasty. His works were mainly in running script and regular script. Among them, one of his representative works was "Sacrificial Nephew Manuscript", which was a cursive calligraphy work depicting the heroic deeds of Yan Gaoqing and his son during the An Lushan Rebellion. This work was written in a bold and vigorous manner, with surging emotions and a majestic momentum. It was known as the " Second Cursive Script in the World ". In addition, Yan Zhenqing also created the 'Pagoda Stele.' This was a work of regular script, with a dignified and precise structure, beautiful and varied. His calligraphy works were full of strength and emotion, showing his personal style and artistic talent.

Appreciation of Calligraphy Works: 1 Preface to Wang Xizhi's Lanting Collection This was one of Wang Xizhi's most famous works and a classic in the history of Chinese calligraphy. The Preface to Lanting Collection was a preface that described the scene of Wang Xizhi and his friends gathering in Lanting, as well as his views on life and nature. Wang Xizhi's calligraphy style was smooth, free, elegant, and full of poetry and philosophy. 2. Su Shi's Ode to the Red Cliff This was one of Su Shi's representative works and also one of the most important works in the history of Chinese literature. The Ode to Red Cliff described Su Shi's experience in the Battle of Red Cliff during the Three Kingdoms period and his thoughts on war and life. Su Shi's calligraphy style was magnificent, his strokes vigorous and powerful, full of pride and ambition. 3 Yan Zhenqing's "Sacrificial Nephew Manuscript" This was one of Yan Zhenqing's representative works and a classic in the history of Chinese calligraphy. The memorial to his nephew was a memorial that described Yan Zhenqing's nostalgia and reminiscence of his deceased relatives. Yan Zhenqing's calligraphy style was calm, steady, refined, and beautiful, filled with deep emotion and historical significance.