Liu Gongquan, the most accomplished calligrapher in the history of calligraphy in China, what good reputation did he leave in the history of calligraphy?

China's calligraphy began in the pre-Qin period, when it was called seal script. After Qin Shihuang unified China, Li Si, the prime minister, invented seal script, which later evolved into official script after Han Dynasty. During the Three Kingdoms period, Cao Cao unified the north and respected Cao Cao. When Cao Cao's calligraphers were alive, most of them wrote on bamboo slips. After a long time, few bamboo slips have been handed down, and most of them are inscriptions carved on tombstones, so later generations call this calligraphy Wei Bei. After the death of Cao Cao, many calligraphers appeared in Wei and Jin Dynasties, such as Mrs. Wei, Cai Yong, the father of Cao Cao, and Zhong You, until a generation of calligraphers appeared in Jin Dynasty. Wang Xizhi turned calligraphy into a running script. In the Tang Dynasty, many famous calligraphers appeared. They borrowed Wei Bei's writing style and invented regular script, such as Chu Suiliang, Yu Shinan, Yan Zhenqing, Liu Gongquan, Ou Yangxun and Zhao Mengfu. Among them, Yanzhao is the most famous, and the regular script represented by Yanzhao reached its peak in the Tang Dynasty. These four people are Yan Zhenqing, Liu Gongquan, Ou Yangxun and Zhao Mengfu, which are collectively called the four masters of regular script.

Liu Gongquan's calligraphy is famous for regular script. After learning from Wang Xizhi, he absorbed the strengths of Yan Zhenqing, Ou Yangxun, Zhong You and others, and then devoted himself to research and practice. Later, he formed his own family and created Liu Ti. Liu Ti is famous for his infinite strength. Liu Gongquan's handwriting is even, thin and hard, and his stippling is beautiful and smooth, with strong strength and tight structure. Yan's painting style is square and dense, with light and heavy strokes, strong brushwork, straight and open. Liu Gongquan's regular script pays attention to "thinness" and is obviously thin and even, so later generations have the reputation of "Yan Gu". Du Fu put forward the view that "books are expensive but hard, and the spirit can be solved". Cen Zongri, a calligraphy critic, commented on Liu Gongquan's calligraphy in this way: Liu Gongquan is strong, so he is like a soldier in Yuanmen and has new health.

Liu Gongquan's masterpieces include: Diamond Sutra Monument, Mysterious Pagoda Monument and Su Feng Monument. Calligraphy includes Fu Shen Tie and Sixteen-Day Posture. Besides, Liu Gongquan is also a poet, and his poems are included in the whole Tang poetry.

Liu Gongquan is a great calligrapher. His regular script is a summary and development of regular script and a well-deserved calligrapher. He absorbed the essence of predecessors, made outstanding contributions to the development and innovation of regular script in China, and laid a solid foundation for the later development of regular script. Nowadays, when people study calligraphy, most of them still choose the fonts of Yan, Liu, Ou and Chu, especially the Liu style, which is welcomed and loved by the majority of regular script lovers. If you learn a good hand, you may become famous and have a family.

So what kind of person can be called a real calligrapher? Throughout the history of China, calligraphy did not appear out of thin air, but was the result of study, summary, development and innovation of countless calligraphers for thousands of years. Calligraphers are people with profound thoughts, profound knowledge of literature and history and rich experience. Many calligraphers have noble qualities and extraordinary personal charm, such as Yan Zhenqing and Liu Gongquan. Their personality and calligraphy are integrated, perfectly combined, and go hand in hand, making great contributions to China's calligraphy. This is the real everyone! It is not a calligrapher who separates history, culture, knowledge, thought, quality and calligraphy, but at best a calligrapher who bows his head and writes without any ink on his chest.

When we study calligraphy, we should learn from the roots of calligraphers, learn more and think more, and enrich our knowledge, so we can't take the side door. Some time ago, ugly books became popular as a genre, which desecrated China's calligraphy. If this continues, China's calligraphy will be led astray.

Good things can become classics, and classic things can spread. Inheritance is a responsibility, and inheritance is also a virtue.