Yan Qinli Stele - Enlarged Selection

Author: Tang Yu / Ni Mingye (editors)
Publisher:
Publishing Date: 2003-12-01
Features: The "Series of Enlarged Ancient Stele and Calligraphy Classics" takes commonly used calligraphy classics as the basis for learning, selecting typical character examples and categorizing them by stroke, radical, structure, or variant forms of the same character. It is supplemented with techniques such as character enlargement and stele flipping, making it the preferred choice for calligraphy learners and teachers as a practice book or teaching reference. This volume is compiled based on the "Dapota Stele" written by Yan Zhenqing of the Tang Dynasty. Yan Zhenqing (709-785), styled Qingchen, was a native of Jingzhao Wannian in the Tang Dynasty, with ancestral roots in Langya Linyi (now part of Shandong Province). He was known as "Yan Pingyuan" for serving as the governor of Pingyuan and "Yan Luguang" for being enfeoffed as Marquis of Lujun. Yan Zhenqing was a master calligrapher of the Tang Dynasty who pioneered the "Yan Style," and his calligraphic art holds an important position in the history of Chinese calligraphy. The "Yan Qinli Stele" is a representative work of Yan Zhenqing in his later years. The piece exudes a majestic and refined aura, with dignified and expansive structure; its brushwork is brisk and robust, resembling a chisel carving sand, and its composition is dignified and grand, tight externally but loose internally, embodying the typical features of the "Yan Style." Yan Zhenqing left behind a wealth of calligraphic works, each with unique forms. To master the "Yan Style," it is most suitable to start with the "Yan Qinli Stele" because this stele features rich brushwork, vivid and dynamic lines with variations, providing learners with effective technical training. When practicing, pay attention to the following aspects:
1. Understand that true Yan calligraphy is not overly fat; appropriately reduce the strong contrast between thin horizontal strokes and thick vertical strokes, as well as the "silkworm head and swallow tail" to avoid developing bad habits.
2. The brush movement should be clear in lifting and pressing, with a reverse and sluggish stroke, making the drawn lines slightly rough and creating a thick and rustic effect.
3. Pay attention to the elongated character forms and the outwardly expanded structure, aiming to achieve a sense of mutual direction between strokes and a full, satisfying single-character appearance.