Characteristics of Yan Zhenqing's Calligraphy

The first feature of Yan Zhenqing's calligraphy is volume. Refers to the verve of his calligraphy, which does not make people feel small and elegant. Bold and grand, a man with courage.

The second feature of Yan Zhenqing's calligraphy is emphasis. Refers to the heavy brushwork in his calligraphy. This feeling is caused by overexertion when writing.

The third feature of Yan Zhenqing's calligraphy is simplicity. Refers to the feeling that his calligraphy is not artificial, and there is no such clever coquetry.

The fourth feature of Yan Zhenqing's calligraphy is its massiness. Refers to the mellow charm of his calligraphy, such as vintage wine, which has a taste but is not dull.

The fifth feature of Yan Zhenqing's calligraphy is strictness. It means that his calligraphy is solemn, vigorous, straightforward, awe-inspiring and dare not infringe.

Personal works:

Most of Yan Zhenqing's works handed down from ancient times are carved steles, and the regular script includes Multi-Tower Induction Monument, Magu Fairy Altar, Dong Fangshuo Portrait Monument, Yan Monument, Yanshi Family Temple Monument and so on. , as well as running script such as "the seat", and book traces such as "my own confession" and "the manuscript in memory of my nephew Ji Ming".

Among them, the tablet is dignified and vigorous, but the brushwork is thin, which is different from other tablets. Yan's Temple Monument is rich in calligraphy, which is one of his masterpieces in his later years. More vigorous than his early works, it is a masterpiece in his later years.

Yan Zhenqing wrote, collected, Wu, Lu and Linchuan Collection, all of which were lost. Later generations compiled his poems into Collected Works of Yan (volume 15). His works are also included in Complete Tang Poetry, Complete Tang Poetry Supplement and Complete Tang Literature.