In 820, at the age of 43, Liu Gongquan wrote Zuo Changshi Xue Ping Monument; In 824, when Liu Gongquan was 47 years old, he wrote Da Jue Zen master Taming and so on. Although the traces of these books have disappeared, it can be seen that his calligraphy skills in his twenties are still valued by the society, otherwise it will not be favored by these dignitaries.
Liu Gongquan's works before the age of 50 can only be seen later, such as Postscript of Thirteen Lines of Luo Shenfu and Engraving the Diamond Sutra. Thus, he learned the calligraphy styles of Hammer Cave and Wang Xizhi, and imitated the brushwork of Yu Shinan, Ou Yangxun, Chu Suiliang and Lu Jianzhi.
According to the Records of Jinshilu, Liu Gongquan's works after the age of 50 include: Nirvana Monk Monument, Li Sheng Monument, Wang Bo Monument, Wei Wenke Epitaph, the Bell of Taiqing Palace, Liu Xuan Monument, Tang Guiyuan Bell Tower Monument and Wang Zhixing Monument.
After Liu Gongquan was 50 years old, only the Li Sheng Monument, Tang Huiyuan's View of the Bell Tower and Ming Dynasty, and the Postscript of Sending Pear Ink were left. It can be seen that Liu Gongquan's regular script is general, although he can see it, but he has not yet become a success.
In 10 years after the age of 60, Liu Gongquan's calligraphy entered its heyday, just like a beautiful day. With the growth of experience, his brushwork has become more vigorous. In his works after the age of 60, nearly 20 monuments appeared in the literature, such as Su Feng Monument, Cui E Monument in Jinbulang, Jiao Jian, Huainan Monument, Wang Fu Phosphorus Monument in Yiyang County, etc. The most important ones are the mysterious pagoda monument and the Shence Army monument.
Liu Ti has achieved great success when he wrote "Shence Military Monument". In the mid-Tang Dynasty, a fat pen was used to make a deep note, which was crisp, quick and healthy, more important than the square and supported by the circle, showing thin and hard lines in the squatting exhibition, which was called "six valleys".
The strokes of "Liu Ti" have their own features. The elders in the horizontal are thin and stretched, and the short ones are strong and powerful; Vertical painting is thicker than horizontal painting, and it is the main pen, seeking its change; Its skimming, the elderly are light, while the short ones are heavy; Its stress must be heavy and show vigorous strength; Its hook, kick and pick must stop, and then quickly return to the front. Liu Ti's words are similar to those in Yan Zhenqing's book, and they are balanced from left to right. However, in the vertical direction, they gain momentum, and the middle is dense and the outside is sparse.
As far as the overall style of writing is concerned, Liu Ti is like "Yuanmen ranks in the army and the sanitation is new". Liu's body is strict and his face is fat again. In order to be fresh, to be strong and straight, to be thin and hard, he learned the spirit. In the late Tang Dynasty, people appreciated Liu Ti with a new calligraphy style and its charming beauty.
After 70 years old in 10, Liu Gongquan entered a new development period. There are many books and tablets at this stage. According to historical records, at the age of 70, Liu Gongquan wrote Shang Yang Ji, Wang Qibei and Shannan West Road Envoys. At the age of 765,438+0, there are nearly 65,438+00 volumes, such as Niu Sen Rubei at the age of 73, Prince Taifu Liu Mianbei, Puguang Wang Temple Monument, etc.
As can be seen from the above monuments, Liu Gongquan seems to want to create a new realm after the Mysterious Tower Monument and the Shence Army Monument vividly reveal Liu's style. I want to use simple infiltration brushwork, simple infiltration structure and elegant infiltration charm. Therefore, in the middle period, the pen cast in steel was cut, and the structure of hidden ribs and exposed bones was tightened and steep.