In the third year of Dali (768) I was appointed to fill the governor of Fuzhou and I came to my post by way of Mt. Nun Ma. An ancient temple, the alleged place where nun Ma completed her Taoist training, stands on the top of the mountain. In the southeast of the temple there is a red lotus pond, from where a trail flanked with fir trees goes down to the valley. In the southwest there is a waterfall plunging 300 ft down the sheer cliff. In the northeast there is a tremendous spectacle of stratified rocks. On examination, shells are recognizable - what great changes the time brings. In the northwest there is a springhead, which is probably the one referred by Xie Lingyun in his poem Into the Mountains. Monk Deng Ziyang used to practice Taoism here before he was called for royal service to the capital. In the fifth year of Tianbao (747) a yellow dragon made its presence felt at the waterfall. In response, the emperor ordered the building extensions to the complex.

Like everyone drew inspiration from Wang Xizhi, Yan had the muscle but in low taste. He knew the technique of regular script, but his characters are as uncultivated as a splayfoot farmer with arms akimbo.
Li Yu 937 - 978

Yan explored all possibilities in calligraphy.
Su Shi, 1037 - 1101

Yan's semi-cursive script can be a model, but his regular script belongs to the vulgar class.
Mi Fu, 1051 - 1107

Yan Zhenqing and Liu Gongquan neither built their characters nor drew their strokes as the ancients did. However, they have been popular since. Their brushwork is skillful and vigorous, which can yet be regarded as a good turn, but the demeanor of Wei and Jin was thus dragged in the dust.
Jiang Kui, 1155 - 1221