Humanistic spirit runs through the history of calligraphy development, endowing calligraphy with unique charm, and is the life and soul of calligraphy art.
Calligraphy art symbolizes a universal personality spirit, and the influence of this personality and character on his works is manifested through his overall aesthetic orientation of calligraphy. Calligraphy works are the materialized form of the author's spirit, and the author's spiritual realm will be consciously integrated into the works. The work not only gathers the author's unique cognitive ability, imagination and expressive force, but also embodies the author's personality and cultivation.
Yan Zhenqing's calligraphy art embodies this point more deeply. His loyalty and the noble character of a moral gentleman remind people of the strong and independent character in his paintings and calligraphy, which is quite remarkable. As a representative of the spirit of the times, his calligraphy represents the magnificent style of the times at that time, showing the vigorous spirit of the times.
Yan Zhenqing created a profound calligraphy style. Compared with his predecessors, his calligraphy shows frankness without carving, boldness, profundity, vigor and simplicity. His handwriting is neither gentle, charming and dexterous as that of "Two Kings" nor gorgeous and colorful as that of Zhang Xu. This is entirely out of a natural nature, like a mountain. His running script "Sacrificing a Nephew" uses Fang Bi more than round pens. Even a round pen is a circle of the three-dimensional line itself. Judging from the appearance of the whole word, it is basically square. It is the so-called inner circle and outer circle, which gives people a generous, kind and profound feeling. When Yan Zhenqing was 67 years old, the letter Liu Zhongshi, written in Huzhou, Zhejiang Province, was vigorous and unrestrained, full of Mo Bao, comfortable and cheerful, creating a magnificent and magnificent new atmosphere. It can be said that it has reached the acme of running script art, and it also embodies the beauty of Yan Zhenqing's so-called "missing marks".
He created many calligraphy inscriptions and formed two calligraphy styles, namely, Gu Zhuo's lofty and lofty, broad and open, vigorous and round. The former, represented by Zhongxing Fu, is a rare cliff book in Yan Shu, and its book is magnificent and magnificent. There is also Yan Bei, a tombstone for his great-grandfather Yan. This book is full of vitality and beauty. The latter has the big word "Ma Gu Xian Tan Ji". This monument is round and vigorous, simple and lush, which has the greatest influence in Yan Shu. Has always been praised. His books are full of seals and official pens, with ups and downs and lofty spirit.
Jiang Kui believes that the first condition for calligraphy works to reach the realm of "Fengshen" is high character. In the history of calligraphy, Wang Xizhi's "Bone", Yu Shinan's "Dezhong", Liu Gongquan's "Righteousness", Cai Xiang's "Talent and Wei Jun" and Yan Zhenqing's "Loyalty and Ming" have always been highly respected. It is true that the word is as it is.