Research On Yan Zhenqing’s Running-hand Calligraphic Style Of "Self Expression"

In the Tang Dynasty, calligraphy experienced prosperous development, and many famous calligraphers who left precious calligraphic work to the later generations were born in this era. Among them, Yan Zhenqing occupies an unique status in the practice and inheritance of calligraphic art at this time. I have paid much attention on Yan’s work while practicing calligraphy in my undergraduate years. I was delighted in the process of copying Yan’s regular script, and practicing calligraphy with penmanship of seal script. However, looking back on my previous work, I find them dull due to being constricted by the rules of calligraphy in Tang Dynasty. Hence my thoughts are aroused:firstly, is it correct to distinguish the calligraphic styles according to the change of dynasty? Secondly, Does Yan zhenqing strictly follow the "advocate rules" of calligraphy in Tang dynasty? Thirdly, can the two words "advocate rules" summarize Yan’s calligraphic style? Fourthly, is Yan’s innovation which is beyond his era recognized?From the perspectives of Yan Zhenqing’s personal experience, learning and acceding of calligraphy art, innovation and influence, and with the research of historical materials and comparative analysis of calligraphic work and inscription, this article attempts to discuss how Yan Zhenqing endows the old with the new and shows the style of "self-expression" in the running-hand creation under the "advocate rules" led by the four famous calligraphers "Ou, Yu, Chu, Xue" at his time.This article conducts research on Yan Zhenqing’s running-hand calligraphy style of "self-expression" from four parts:the first part briefly introduces the tendencies of calligraphy in Tang Dynasty:the calligraphic circle under calligraphic style of "advocate rules" at that time, as well as Yan Zhenqing’s art life. The second part lays stress on how running-hand calligraphy style of "advocate rules" came into being, and detailed analysis is made on the cause of formation from the perspectives of cultural environment, calligraphy theory, learning and acceding of calligraphy art as well as personal innovation. The third part analyzes Yan’s running-hand calligraphic style of "self-expression" from skills in stipple, penmanship, structure, ink and composition with Yan’s famous three pieces of work (including Calligraphy Draft of a Requiem to My Nephew, Calligraphy Draft of a Requiem to My Elder Uncle, Calligraphy Draft of Arguing about the Seat) and Copybook of Yingzhou. The fourth part states the influence of Yan’s calligraphic style on the later generation, and studies the inheritance and development of Yan’s running-hand calligraphic style from work of calligraphers from later generation. Through the research on this subject, I hope to gain more comprehensive and thorough understanding on Yan Zhenqing and his calligraphy, and keep studying traditional art with full effort as well as perfecting my calligraphic creation and theory study.