This period ranges from Yan Zhenqing’s fifties to sixty-five. During these years, he wrote some famous pieces like ''Guojia Miao Stele'' and ''Magu Shan Xiantan Ji'' . Having experienced An Lushan Rebellion and frequent vicissitudes in his civil career, Yan Zhenqing’s style was maturing. He increased the waist force while wielding the brush, and blended the techniques from '''' and '''' Scripts into his own style, making the start and ending of his brushline gentler. For individual stroke, he adopted the rule of “thin horizontal and thick vertical strokes”; strokes’ widths were varied to show the curvature and flow, and the dots and oblique strokes were finished with sharp edges. For character structure, Yan style displays squared shape and modest arrangement, with spacious center portion and tight outer strokes; this structure resembles more to the more dated ''Zhuan'' and ''Li'' Scripts. And for the allocation of the blank, characters are compact vertically, leaving relatively more space in between lines. Hence, the emerging ''Yan'' style had abandoned the sumptuous trend of early Tang calligraphers: it is rather upright, muscular, fitting, rich and controlled; than sloped, feminine, pretty, slim and capricious.