Study On The Inheritance And Innovation Of Yan Zhenqing’s "External Extension" Writing System In The Qing Dynasty

Yan Zhenqing was another peak of Chinese calligraphy after the "Two Kings".The formation of his classic position in the history of calligraphy mainly relied on the dual overlap of "moral image" and "calligraphy identity".The high unity of his character and calligraphy made him a rare example of a calligrapher in the history of Chinese calligraphy.Yan Zhenqing’s calligraphy can be summarized as a tripartite composition of "law","meaning",and "Dao",and there have been many calligraphers who have studied Yan throughout history,including some who achieved outstanding achievements,especially in the Qing Dynasty.The most unique aspect in the history of calligraphy in the Qing Dynasty,namely the rise of the Qing Dynasty Stele Study Movement,completely overturned the orthodox position of calligraphy based on the traditional concept of calligraphy since the Wei and Jin dynasties,and gradually expanded to the field of regular script based on the retro style of seal script and clerical script,gradually expanding to the use of northern steles as the object of selection.It also introduced the aesthetic taste of late,astringent,dignified,and rich simplicity in seal script and clerical script into the creation of cursive script,This undoubtedly had a serious impact on the development of calligraphy in the Qing Dynasty.The contradiction and conflict between the two schools of calligraphy and calligraphy urgently needed an intermediate bridge to break the shackles and barriers between calligraphy and calligraphy.However,Qing dynasty calligraphers coincidentally chose one person-Yan Zhenqing.Moreover,the reason why they chose Yan Zhenqing was because his calligraphy possessed the dual attributes of both calligraphy and stele studies.The dual attributes of Yan Zhenqing’s calligraphy in steles and inscriptions have been widely accepted by calligraphers from both the Qing Dynasty stele and inscriptions schools.At the same time,on the basis of the particular emphasis on the research and practice of calligraphy strokes by Qing Dynasty calligraphers,the formal composition of Yan Zhenqing’s calligraphy strokes will naturally be valued,explored,and summarized by Qing Dynasty calligraphers.During this process,Yan Zhenqing’s "external extension" brushstroke system was gradually constructed in the perspective of the Qing Dynasty,which was characterized by the "external extension" brushstroke as the main feature,including the basic core brushstroke of "containing seal and Zhou" and "the center of the brushstroke",the cursive brushstroke of "house leakage marks" and "folding hairpin strands",and the regular script brushstroke of "introducing strokes to external extension" and "expanding Yan techniques".At the same time,there is a high degree of consistency between Yan Zhenqing’s "external extension" stroke system and the Qing Dynasty calligraphy stroke concept.With the widespread acceptance of Yan Zhenqing’s calligraphy in the Qing Dynasty,as well as the continuous recognition and construction of Yan Zhenqing’s "external extension" brushwork system by Qing Dynasty calligraphers,a strong and unique Yan calligraphy school gradually emerged in the Qing Dynasty calligraphy world.On the basis of Yan Zhenqing’s "external extension" brushwork system as the core,Qing Dynasty calligraphers continuously interpreted Yan’s calligraphy in multiple dimensions and highlighted their different artistic styles and aesthetic value orientations,greatly promoting the development process of Chinese calligraphy history and endowing Chinese calligraphy with richer spiritual connotations and aesthetic charm.At the same time,they also provided valuable artistic practice and theoretical research value for contemporary calligraphy creation.