What font is Yan Zhenqing's pagoda stele?
Yan Zhenqing's pagoda stele was written in regular script.
Yan Zhenqing's Pagoda Stele
Yan Zhenqing's multi-pagoda stele in simplified Chinese can be downloaded and viewed online for free on the font world website. This stele was one of Yan Zhenqing's early representative works. The writing was respectful and sincere, the font structure was strict, the strokes were round, dignified and beautiful, giving people a feeling of movement in silence, floating like an immortal. The characteristic of the pagoda stele was that the font was neat and meticulous, and the strokes were meticulous. Therefore, it became one of the models for future generations to learn regular script.
Yan Zhenqing's Multi-Pagoda Stele
Yan Zhenqing's 'Pagoda Stele' was one of his early representative works. This inscription recorded that when the monk Chujin of the Tang Dynasty was reading the Lotus Sutra, the multi-treasure pagoda frequently appeared in front of him in his illusion. Therefore, he decided to turn this illusion into reality and built the multi-treasure pagoda. The inscription described in detail the construction process of the pagoda and related Buddhist matters. The [Multi-Pagoda Stele] had a total of thirty-four lines and sixty-six words. The overall style was beautiful and vigorous, and the handwriting was neat and meticulous. Yan Zhenqing displayed his calligraphy talent in this work. The structure was rigorous, the strokes were round, and the strokes were rich and beautiful. This inscription was widely studied and imitated by later generations, and was regarded as one of the models of regular script.
Yan Zhenqing's "Pagoda Stele" features
Yan Zhenqing's Duobao Pagoda Stele had the following characteristics: First, it was square and well-proportioned. Most of the characters tended to be square, and the strokes of the characters were evenly spaced. Second, the horizontal painting is thinner than the vertical painting. Third, the left is thin and the right is thick. When two vertical lines appear side by side, the vertical line on the left is smaller. Fourth, breaking the convention and creating some unconventional writing methods. The structure of this stele was tight, the dots were round, beautiful and strong. It was Yan Zhenqing's early work, showing his knowledge and superb calligraphy skills. This monument had extremely high artistic value, giving people a lively, dignified and beautiful artistic enjoyment.
Yan Zhenqing's original text of the Pagoda Stele
The original text of Yan Zhenqing's "Multi-Pagoda Stele" was as follows: Chao Yi Lang, sentenced to Shangshu, Wu Department Yuanwailang, Lang Yan Zhenqing's letter. Chaosan doctor, inspection minister, all official doctor, Donghai Xu Hao title. Yue County,"Miao Fa Lotus Flower," is the secret treasure of all Buddhas. The pagoda with many treasures is the manifestation of the scriptures. Creation depends on ten strengths, and grand construction depends on four aspects. There is a Zen master named Chu Jin, surnamed Cheng, Guangping people. His grandfather and father believed in Buddhism and celebrated the return of the Fa Yin. His mother, Gao, was not pregnant for a long time. At night, she dreamed of Buddhas and woke up pregnant. This is the sign of a dragon and an elephant, but there is no sign of a bear. The moon is bright and bright. He is not a child, nor a child. Please note that the above is the original text of Yan Zhenqing's "Pagoda Stele".
Yan Zhenqing, how to read the pagoda stele
Yan Zhenqing's multi-pagoda stele could be read as 'multi-pagoda stele'.
What does Yan Zhenqing's Pagoda Stele mean?
Yan Zhenqing's 'Pagoda Stele' was an inscription that recorded the creation of the pagoda by Chu Jin, the Zen Master of Longxing Temple in Xijing. When Zen Master Chu Jin was reading the Lotus Sutra, he seemed to see the pagoda appear in front of him. He was determined to turn this illusion into reality. Therefore, in the first year of Tianbao, Thousand Blessings Temple was selected to be built. Four years later, the pagoda was finally completed. Every year, he would write the Lotus Sutra and Bodhisattva precepts for the emperor and the common people in Thousand Blessings Temple. This had a special significance in the history of Buddhism. Yan Zhenqing's " Pagoda Stele " was one of his famous works in his early years. His writing was respectful and sincere. His style was influenced by the two kings, Ou, Yu, Chu, and other senior calligraphers. At the same time, it also absorbed the nutrition of folk calligraphy art. The entire inscription was well-structured, and there were black silk bars between the lines of the words. The dots were round and neat, dignified and beautiful, giving people a feeling of stillness and movement, floating like an immortal. Although the Pagoda Stele was not Yan Zhenqing's representative work during his mature period and was completely different from his later works, it was the first piece of Yan Shu and the first step to Yan Kai's success. Therefore, people who learned the Yan Style often started from this stele.
Yan Zhenqing's multi-pagoda stele calligraphy video
He could find the video of Yan Zhenqing's 'Multi-Pagoda Stele.' In the search results, there were many video tutorial and public lessons to learn Yan Zhenqing's multi-pagoda stele calligraphy. For example, there was a video tutorial with a total of 235 videos on the comprehensive analysis of Yan Style regular script. Each video was 10 minutes long, which was equivalent to 40 hours of professional calligraphy class. There was also a set of 100 videos of copying lessons, where one could learn the copying skills of Yan Zhenqing's multi-pagoda stele. In addition, there were other video tutorial and public classes that could provide more knowledge about Yan Zhenqing's calligraphy.
Yan Zhenqing's multi-pagoda stele copybook electronic version
The electronic version of Yan Zhenqing's multi-pagoda stele copybook could be obtained through many ways. On the website that provided online copybook generation services, one could find the online generation tool for Yan Zhenqing's Pagoda Stele. By using this tool, one could create an electronic version of Yan Zhenqing's Pagoda Stele copybook. In addition, the electronic version of Yan Zhenqing's multi-pagoda stele could also be found on some e-book platforms. For example, the essence series of Chinese steles published by Zhonghua Bookstore included it. In addition, there were some high-definition electronic copybooks made by calligraphy enthusiasts that could be downloaded or printed. In short, the electronic version of Yan Zhenqing's multi-pagoda stele was relatively easy to obtain. It could be obtained through online generation tools, e-book platforms, or resources shared by calligraphy enthusiasts.
Yan Zhenqing's multi-pagoda stele calligraphy introductory teaching
Yan Zhenqing's " Pagoda Stele " was a model for the introductory teaching of calligraphy. This tutorial was based on Yan Zhenqing's work and explained the basic strokes and components of regular script in detail. The tutorial used the trajectory of the brush to match the painting, and through the illustration method, the calligraphy teaching was more intuitive and clear. The tutorial also included theoretical and creative guidance on the layout, rules, and methods of signing. In addition, the tutorial also provided practice on the word 'Fan' for the students to practice and create reference. This tutorial was recommended by the Ministry of Education and was considered one of the best models for learning Yan calligraphy.
Yan Zhenqing's Yan Qinli Stele
Yan Zhenqing's 'Yan Qinli Stele' was the tombstone he erected for his great-grandfather, Yan Qinli. It was also one of his representative works in his later years. This monument was erected in the 14th year of the Tang Dynasty (779) and is now in the Forest of Steles Museum in Xi'an. Yan Qinli Stele was engraved on four sides, three of which were still in existence. The inscription traced the merits of Yan's ancestors and described the achievements of future generations in the Tang Dynasty. Yan Zhenqing used the techniques of horizontal, fine, vertical, thick, hiding the head and protecting the tail, and using both square and round in his calligraphy. His calligraphy was dignified and generous, broad and stretched, and he saw the skill in his clumsy calligraphy. This monument displayed the aesthetic fashion of the Tang Dynasty and was considered one of Yan Zhenqing's iconic works of calligraphy.