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Regular Script - Copy and Practice Yan Zhenqing's Inscription on the Yan Qinli Tablet VCD

  • Copy and Practice Yan Zhenqing's Inscription on the Yan Qinli Tablet
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Regular Script: Copy and Practice Yan Zhenqing's Inscription on the Yan Qinli Tablet
- Coping and Practicing Calligraphy of Past Dynasties Series
Instructor: Li Hongzhi
Language: Mandarin Chinese
Published by Beijing Zhonglutongfang Audio-Visual Publishing House, 2005
Media: VCD
ISBN: 7880106928

The regular script or standard script, or in Chinese kaishu, also commonly known as standard regular, is the newest of the Chinese calligraphy styles (appearing by the Cao Wei dynasty ca. 200 CE and maturing stylistically around the 7th century), hence most common in modern writings and publications (after the non-calligraphic printing Song Ti). It is also occasionally known as true script (zhenshu) and standard script (zhengshu), formal script. It is simpler in structure and square in shape. To be specific, it has more standardized horizontal and vertical. The integral feature of regular script is neatness and orderliness, for which it is widely used and favored today. Regular script became popular in the period of Six Dynasties, and entered prosperity and boom in Tang Dynasty. Yang Zhenqing, Liu Gongquan, and Ouyang Xun were famous calligraphers of Tang Dynasty. Together with Zhao Mengfu in Yuan Dynasty, they were honored together "Four Masters of Calligraphy" in Chinese history. Their works include Yanqin Rite Tablet and Record of Damagu Divine Altar of Yan’s style featuring sturdiness; Mysterious Pagoda and Stele of Wonderful Strategies of Liu’s style featuring strength and power; Danba Tablet, Miaoyan Temple Tablet, and Scripture on the Pagoda of Huadu Temple of Meng’s style featuring elegance and slenderness.

Yan Zhenqing (709 - 785) was a Tang minister and calligrapher, born into a prestigious family, a native of Linyi of present-day Shandong Province. As a representative of the middle Tang Dynasty, his regular script, with unique style and handwriting, is robust, muscular and grand and known as yanti (Yan style) to later generations.

The stone tablet was written and dedicated to Yan’s great grandfather Yan Qinli. It is 268 cm high and 92 cm wide. The life-story on the tablet was written and cut in regular script. The tablet was buried underground for many years, protecting it from damage, and the calligraphy is remarkably clear and fresh. It serves as a good model for beginners to copy. Today, it is kept in the Third Hall of the Forest of Steles Museum in Xi’an.

The penmanship of the calligraphy on the tablet stresses the maneuverability of the middle edge of the brush, with the use of the brush tip at first in a pressed and backward way and then unfolding it to level to the end, to make the head of the strokes hidden and the tail protected. In this way, the edges of the brushwork cannot be seen and an effect of forceful penmanship is thus produced with characters smoothly and energetically written. Its typical strokes such as the long slanting lines and long vertical stems are unique. Its turns are mostly in the form of an inward square and an outward round. As a whole, the Yan style is solemn and great, elegant and robust, vigorous and primitive with an atmosphere of magnificence.

商品名称:历代书法临习之楷书—颜真卿“颜勤礼碑”(1VCD)
主讲人:李洪智
出版社:北京中录同方音像出版社,2005
ISBN:7880106928

《颜勤礼碑》全称《唐故秘书省著作郎夔州都督府长史上护军颜君神道碑》,是颜真卿为其曾祖父颜勤礼所书神道碑。1922年10月在长安出土,现藏于西安碑林。古人所谓墓前开道,建石柱以为标,谓之神道,即墓碑。此碑由颜真卿亲自撰文,内容追述颜氏家族祖辈功德,并叙述后世子孙在唐王朝的业绩。

《颜勤礼碑》四面刻字,现存两石及一侧,文至[铭曰]止。碑阳十九行,碑阴二十行,每行各三十八字,碑侧五行,每行三十七字,共计一千六百六十七字。左侧铭文在北宋时已被磨去,无立碑年月。

颜真卿的楷书一反初唐书风,行以篆籀之笔,化瘦硬为丰腴雄浑,结体宽博而气势恢宏,骨力遒劲而气慨凛然,这种风格也体现了大唐帝国繁盛的风度,并与他高尚的人格契合,是书法美与人格美完美结合的典例。他的书体被称为“颜体”,与柳公权并称“颜柳”,有“颜筋柳骨”之誉。《颜勤礼碑》书写于颜真卿七十一岁的晚年,正值鲁公楷书风格趋于成熟的时期,既能从容于法度之中,又能纵横于绳墨之外。加之久埋地下,未经后人剔剜,丰神饱满,远在鲁公其它碑刻之上,为颜碑中最精彩者,也是楷书学习的最佳范本。

主讲人李洪智,汉语文字学(含书法)专业博士,副教授。书法师从秦永龙教授。现在围歼师范大学艺术学博士后流动站从事教学、科研工作。在北京师范大学艺术系公共艺术教研室、北京师范大学继续教育学院、北京师范大学书法专业等担任“楷书技法”、“楷书实践”、“草书概论”、“文字学”、“行草书技法”等课程的授课工作。参编有《实用书法教程》等,是教育部人文社会科学研究项目“启功先生书法学研究”的参与人之一,2003年协助导师秦永龙教授编辑了《启功书法丛论》一书。发表学术论文十余篇。

主要内容:
1、颜真卿及其《颜勤礼碑》简介
2、《颜勤礼碑》笔法
3、《颜勤礼碑》的结构特点
4、临摹、创作时的注意事项
5、创作示范

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