Yan Zhenqing Regular Script 4, Collection of couplets from Yan Qinli Stele

Author: Compiled by the Press
Publisher:
Publishing Date: July 1, 2005
Features: A practical and rapid calligraphy workbook, meticulously refined and organized based on the structural principles, writing methods, and practical requirements of Chinese characters. This workbook features the "Hui-character four-cornered folding grid" for practice. This grid was developed by summarizing and analyzing existing grids such as the square grid, Tianzi grid, nine-grid, rice-grid, and Hui-gong grid, while also referencing traditional Chinese methods of folding paper for writing couplets and horizontal scrolls. After rigorous research and practical application, it was introduced to the public. The "Hui-character four-cornered folding grid" is highly convenient to create and use—simply fold the paper into an outer square grid and an inner square grid, resembling the character "Hui," then fold the "Hui" diagonally to form an "X" in the center. This practice grid combines the strengths of various other grids while avoiding their shortcomings. It eliminates the need for rulers, allows for adjustable size, facilitates stroke arrangement, and promotes natural composition. It enables learners to quickly grasp the structural principles and writing methods of Chinese characters, making it a highly practical approach to calligraphy. The content of this workbook is curated from the representative works of influential calligraphers throughout Chinese history, selected based on practical requirements to form sentences and couplets. Its primary purposes are to:
- Enhance learners' interest in copying classic calligraphy works, guiding them to quickly master practical calligraphy skills;
- Combine learning with application to achieve twice the result with half the effort.
This practical calligraphy workbook integrates brushwork, structure, composition, and practicality, combining theoretical guidance with creative practice. It serves as a shortcut for learners to enter the of calligraphy art.
Yan Zhenqing (709–785 AD), styled Qingchen, self-identified as a native of Langya Commandery (southeastern Shandong Province) or Jingzhao County (present-day Chang'an County, Shaanxi Province). He passed the imperial examination in the 22nd year of the Kaiyuan era (734 AD) during the Tang Dynasty and served as the governor of Pingyuan. He rose through the ranks to become a Vice-Chancellor of the Imperial Secretariat and Minister of Personnel, ultimately holding the title of Grand Tutor to the Crown Prince. However, he was later exiled by Yang Guozhong. During the An Lushan Rebellion, he was enfeoffed as the Duke of Lubei, earning the posthumous titles Yan Pingyuan and Yan Luguang.
Yan Zhenqing diligently studied the calligraphy of ancient masters such as Wang Xizhi, Zhang Xu, and Chu Suiliang, inheriting the style of Northern Wei calligraphy while absorbing the essence of folk calligraphy. He integrated diverse influences, innovated, and applied the brushwork of seal and clerical scripts to regular script, establishing the "Yan style" through years of practice—a bold, robust, and majestic style that aligned with the aesthetic preferences of the Chinese people.
Many of Yan Zhenqing's regular-script steles and scrolls have been passed down, including The Record of the Immortal Ma Gu in the Taoist Altar, The Stele of Guo's Family Temple, The Stele of Yan Qinli, The Stele of the Yan Family Temple, The Portrait Inscription of Dongfang Shuo, The Inscription of the Great Tang's Revival, and the ink rubbing Self-Composed Inscription.
The Dabao Pagoda Stele, formally titled The Stele of the Many Treasure Pagoda at the Western Capital of the Great Tang Dynasty, was written by Yan Zhenqing at the age of 44. The original stele is preserved in the Xi'an Stele Forest. It exhibits meticulous adherence to calligraphic norms, balanced composition, and steady, composed brushwork, making it one of Yan Zhenqing's most representative works.
The basic characteristics of the Yan style are as follows:
1. In terms of structure, Yan characters are expansive, dignified, and majestic, with an open and grand. The characters are long yet nearly square, with wide and balanced proportions. They fill the grid, with dense outer lines and sparse inner spaces, maintaining a stable center of gravity.
2. In brushwork, emphasis is placed on wrist strength, resulting in bold and powerful strokes. The beginning of strokes often hides the tip (), while the end often curves back (). The style primarily uses round strokes, supplemented by square ones.
3. In stroke connection, emphasis is placed on correspondence and the flow of energy (). The end of one stroke seamlessly connects to the start of the next, creating a continuous and dynamic rhythm. Within a single character, multiple identical strokes vary in form, each distinct and lively.
4. In ink technique, the style combines both dry and moist strokes, exuding simplicity and boldness.