Introduction to Yan Qinli Stele: Tang Dynasty Yan Zhenqing Regular Script: Tang Dynasty Yan Zhenqing Regular Script

Author: Jiang Yumin
Publisher:
Publish Date: 2004-07-01
Features: Yan Zhenqing (709–785 AD), born in Xi'an, Shaanxi, is also said to be from Linyi, Shandong. He was a prominent master of regular script during the mid-Tang Dynasty. The Yan family has been renowned for calligraphy for generations. Yan Zhenqing lost his father at a young age and was educated by his uncle and elder brother, so his early calligraphy was deeply influenced by his family's tradition. In his youth, he studied calligraphy with Zhang Xu and later absorbed the brushwork of Chu Suiliang, incorporating traditional seal and clerical scripts into his style, eventually becoming a master. Yan's script, known as "Yan Style," is often paired with Liu Gongquan's ("Yan and Liu") and had a profound influence on later generations, leaving behind a wealth of works. The Yan Qinli Stele is one of his representative works, written at the age of seventy-one for his great-grandfather, Yan Qinli. At this time, Yan Zhenqing's brushwork was vigorous and full of youthful vitality, with clear and decisive strokes, embodying both boldness and refinement. His calligraphic style was fully established, with the characteristic "silkworm head and wild goose tail" technique becoming distinct. This book arranges the restored Yan Qinli Stele according to brushwork, structure, and other criteria, aiming to extract the typical features of Yan's script to help beginners shorten their learning curve. Yan Zhenqing's regular script can be divided into four main periods:
First period: Characterized by rigorous brushwork, meticulous structure, and elegant, varied forms.
Second period: Features distinct starting and ending strokes, with thin horizontal lines and thick vertical lines that curve slightly. The structure emphasizes variations in density and openness, showcasing bold brushwork and a spacious, expansive style.
Third period: Exhibits minimal variation in stroke thickness, forming a simple, sturdy, and grand style.
Fourth period: The late period of Yan Zhenqing, where his calligraphy features sparse yet dense structures, powerful and vigorous strokes, reaching a level of perfection. Therefore, the model characters selected in this book are primarily from his late masterpiece, the Yan Qinli Stele.
Yan Zhenqing was a descendant of the Langya clan, with a scholarly family background. His fifth-generation ancestor, Yan Shigu, was a renowned scholar of the Northern Qi Dynasty and author of The Yan Family Precepts. As a child, Yan Zhenqing was poor and lacked paper and ink, so he practiced calligraphy by dipping his brush in yellow soil and writing on walls. He initially studied under Chu Suiliang before learning brushwork from Zhang Xu. He also absorbed the characteristics of the Four Masters of Early Tang, combined seal and clerical script traditions with Northern Wei brushwork, and created the robust and expansive Yan Style, establishing a of Tang Dynasty regular script.
Regular script in the early Tang Dynasty underwent a transformation under Yan Zhenqing. He infused his work with the techniques of seal and clerical scripts, transforming thin and hard lines into full and majestic ones. His structures were spacious and grand, with strong bone force and an imposing spirit. This style reflected the prosperity of the Tang Empire and aligned with his noble character, embodying a perfect fusion of calligraphic beauty and personal virtue. His script is known as "Yan Style," paired with Liu Gongquan's as "Yan and Liu," and is celebrated with the saying, "Yan's strength, Liu's bone."