Liu Gongquan (AD 778-AD 865), a famous calligrapher in the Tang Dynasty, was born in Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). Official to the prince, known as "Liu". Liu Gongquan's calligraphy is famous for regular script, which is as famous as Yan Zhenqing, and is called Yan Liu. Wang Xizhi, a beginner in calligraphy, later visited famous calligraphers in the Tang Dynasty and thought that Yan Zhenqing and his calligraphy were the best, so he absorbed the strengths of Yan and Ou, and formed his own Liu style between the charm of Jin people and the graceful and unconstrained style of Yan's calligraphy, which was famous for its strength and strength, and later generations had the reputation of "Yan Gu". He wrote many works in his life, mainly including Hui Yuan's View of the Bell Tower in the Tang Dynasty, Diamond Sutra Engraving, Xuanta Monument, Su Feng Monument, Shence Army Monument and so on. In addition, there are ink marks such as "Zhao Meng Post" and "Pear Post and Postscript from Wang Xianzhi".
Chinese name: Liu Gongquan.
Alias: sincere suspension
Nationality: China.
Date of birth: 778 AD
Date of death: 865 AD
Occupation: calligrapher
Representative works: Diamond Sutra Monument; Mysterious tower monument; "Shence Army Ji Shengde Monument" and so on.
catalogue
introduce
The life of a character, the cause of royal book service
Noble character cultivation
Early trip to the summit: looking forward to the end of the world
In its heyday: Liu Ti's great achievement.
Mid-term: the charm of sunset
Late stage: sunset glow in Liu Shu
Standing on the shoulders of giants, it stands out from Zhong Shu and Wang Shu.
From Europe and Chu
From Yan Shu.
Characteristics of works
The masterpiece "Diamond Sutra Engraving Stone"
Li Sheng Monument
"Hui Yuan's View of Heavy Buildings and Ming Xu"
Su Feng Monument
Back and forth monument
Mysterious pagoda monument
Shence Army Monument
Liumian monument
Weiguongxian Temple Monument
Gaoyuan Yubei
Stories and legends guard against arrogance and rashness and make a name for themselves.
The right thought and the right pen
Brief introduction of Liu Gongquan's tomb
The life of a character, the cause of royal book service
Noble character cultivation
Early trip to the summit: looking forward to the end of the world
In its heyday: Liu Ti's great achievement.
Mid-term: the charm of sunset
Late stage: sunset glow in Liu Shu
Standing on the shoulders of giants, it stands out from Zhong Shu and Wang Shu.
From Europe and Chu
From Yan Shu.
Characteristics of works
The masterpiece "Diamond Sutra Engraving Stone"
Li Sheng Monument
"Hui Yuan's View of Heavy Buildings and Ming Xu"
Su Feng Monument
Back and forth monument
Mysterious pagoda monument
Shence Army Monument
Liumian monument
Weiguongxian Temple Monument
Gaoyuan Yubei
Stories and legends guard against arrogance and rashness and make a name for themselves.
The right thought and the right pen
Liugongquan tomb
Liu Gongquan (778-865) was a calligrapher of the Tang Dynasty in China. Sincere words. Jingzhao Huayuan (now Yaoxian County, Shaanxi Province) was born. once
He has served as a Bachelor of Calligraphy in the Imperial Academy, a Calligrapher in China, a Bachelor of Calligraphy in the Imperial Academy, a Prince of Taibao and a Duke of Hedong. Honest and frank temperament, dare to speak out. He was good at regular script, and widely studied the philosophers in Wei, Jin and early Tang Dynasties, which was greatly influenced by Yan Zhenqing. His book structure is tight, the brushwork is sharp, such as vigorous and powerful, and the book style is charming and vigorous, which can be compared with Yan Zhenqing's vigorous and graceful book style and is praised as Yan Gu by later generations. It has a great influence in the history of calligraphy. Liu Gongquan's ink handed down from ancient times includes "Send a Pear with an Inscription and Postscript", with inscriptions such as Diamond Sutra Monument, Mysterious Pagoda Monument, Shence Army Ji Shengde Monument, Pingxi County King Monument, Xiyang County King Yi Monument, Wei Gongxian Temple Monument, Plateau Jade Monument and Su Feng Monument. [ 1]
Edit this character's life.
Datang culture is brilliant, and famous artists come forth in large numbers. In the early Tang Dynasty, there were Europe, Henan, Chu and Xue. Zhang Xu, Yan Zhenqing and Huai Su were in the prosperous Tang Dynasty. There were Liu Gongquan and Shen Chuanshi in the middle and late Tang Dynasty. Liu Gongquan took the banner of regular script from Yan Zhenqing and created his own "Liu Style", reaching another peak. Later generations called it "Yan Liu", which became a model of calligraphy in past dynasties.
Royal librarian occupation
In 778 AD, in the thirteenth year of Dali, Tang Daizong, Liu Gongquan was born in Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). His ancestor Liu was Cao Congjun, a scholar in Taizhou, Tang Dynasty. His father was a Danzhou secretariat, and his brother Liu Gongzhuo was a famous minister in Tang Dynasty. In the third year of Xian Zongyuan (808), Liu Gongquan, 3 1 year-old, was a Jinshi, and Hongci was admitted to the Jinshi that year. From then on, Liu Gongquan began a long career and even lived in seven dynasties: Xianzong, Mu Zong, Jing Zong, Wenzong, Wuzong, Xuanzong and Zong Yi. During the reign of Xian Zong, Liu Gongquan was the secretary of the provincial school. "Li Tingzhen Zhou Xia has become a powerful secretary" (Old Tang Book). Li Ting and Liu have this friendship, so Liu also set up a monument for his book in his later years. Landscape of Liu Gongquan's Tomb (15 photo): Mu Zong ascended the throne and Liu Gongquan performed in the DPRK. Mu Zong summoned Liu Gongquan and said, "I saw your handwriting in the Buddhist temple, but I didn't see Liu Gongquan.
It has been a long time. "Today thanks to the right gleaning, fill the Hanlin bachelor's history books, move to the right to fill a vacancy, and seal the secretary Yuan Wailang. Since then, he has been working in Mu Zong, Jing Zong and Wenzong Dynasty. The emperor's lucky and rich life did not bring joy to Liu Gongquan. However, there is an inescapable depression and faint shame in his heart. He loves the art of calligraphy, but he doesn't want to take it as his whole life; The enterprising spirit of making contributions is always beating in the chest. The status of the emperor's attendants is only equal to "work desire". So, his brother Liu Gongzhuo wrote a letter to Li Zongqin, the prime minister, saying, "My brother made painstaking remarks. He served the books first to see the use, and was quite grateful for his work. He was really embarrassed and asked to change his rank. " So he changed the right doctor, and changed the seal of the Department, Jiro of the Ministry of War, and the Hong Wen Pavilion of Bachelor. Tang Wenzong loved Liu Gongquan's calligraphy very much. He was also called to be a calligrapher, tried to persuade the doctor, and later turned to be a calligrapher in China, becoming a bachelor of calligraphy in Hanlin. Three years later, he was transferred to assistant minister of industry, and he transferred to bachelor's degree. Wu Zongchao resigned from his post and authorized him to ride a regular waiter. Prime Minister Cui Xun regards it as a bachelor's degree and a court judge. When Xuanzong proclaimed himself emperor, Zuo granted the eldest son the post, changed the guest, moved Dr. Ziguanglu, went to Zhu State, and was the founding father of Hedong County. When he returned to Zuochang, Guo Zi offered wine and looked up the history of the Ministry of Industry. During the Zong Yi period, in the early years of Xian Tong, Liu Gongquan was changed to Prince Shaofu and Shao Shi; He died in Xian Tong for six years (865) and was given to the Prince at the age of eighty-eight. Liu Gongquan had a successful career, but at the age of eighty-two, his reaction was a little slow because of his age. When he was decorated, he accidentally made a mistake and was impeached by Yushi. As a result, he was fined a season's salary. Emperors of all dynasties loved his calligraphy and his poetic talent, and even accepted his suggestions. Liu's life, except for a little time when he was an official outside, was basically in the capital, in the palace and beside the emperor. Throughout his life, he has been writing for the royal family, ministers and relatives and friends. Liu Gongquan is like a canary in a forbidden cage. This kind of life makes him lack of magnanimity, broad vision and broad sources of life. Yan style has been changing from monument to monument, and Liu style has become less after maturity. Yan Zhenqing is like a roaring torrent, but Liu Gongquan is like a cave water flowing in the mountains and forests. These are two different perceptions of life.
Noble character cultivation
Liu Gongquan was taught about "morality" in Liu's family instructions since childhood, so he took morality as the root and "studied classics" all his life. He has a Confucian style in life and calligraphy. Liu Gongquan's "pen admonition" became a kind of "model" for later scholars: Mu Zong was a hermit, and he asked what was good about the pen, saying, "Use a pen in your heart, and your heart is always there." You can change your capacity and know the advice of your pen. (Old Tang Book) Liu Gongquan's Calligraphy (18 sheets) Mu Zong was lazy in politics, and Liu Gongquan used books as a metaphor for politics, thus subtly remonstrating. From then on, the theory of "mind is right and pen is right" was passed down to later generations. This can be seen from Liu Gongquan's daring to speak out or gently admonish when he banned books. Liu Gongquan's performance of calligraphy in front of emperors and courtiers is the other side of his life of "serving books". His poetic talent and literary talent made the emperor "cherish it as gold". Despite this, Liu Gongquan's mind is not biased towards this. External glory can't dispel inner anguish. He is proficient in Confucian classics, especially poems, books, Zuo's Spring and Autumn Annals, Mandarin and Zhuang Zhou. Every time he explains a meaning, he has to say hundreds of words (New Tang Book). It is worth noting here that he studied Zhuangzi as well as Confucianism, and it was very subtle. At the same time, Liu Gongquan absorbed the nourishment of the soul from Confucianism, Buddhism and Taoism, sought complementarity and balance, and sought some detachment. He is interested in Buddhism and the Diamond Sutra.
There are many contacts with Taoism and various calligraphy creations. He wrote the Diamond Sutra many times, but now he only sees Dunhuang rubbings, but many people in Liushu recorded the Diamond Sutra. In addition, there are preface to Yin Fu Jing, Book of Songs, Du Fu and so on. He wrote many inscriptions and pagodas of monks in the Tang Dynasty, the most famous of which is his Mysterious Pagodas in exorcist. There are also many books and historical sites in Liuyu-Buddhist Temple, among which the famous ones, such as "Hui Yuan Guanzhong Louming" and "Fortoringi Monument" are outstanding. Liu Gongquan has both Buddhism and Taoism to comfort his soul, so he is quite detached in the rolling world of mortals. He even disdains money. He writes monuments to people and earns a lot of money every year. Domestic slaves seagull and Long An often steal their money and things, and he takes them lightly. In addition, Liu Gongquan is also "aware of temperament", but "difficult to play music", as the saying goes: "I am proud of listening to music." Liu Gongquan has a lot of knowledge and cultivation, so the calligraphy art nourished by his mind is also swaying. Its fortitude and integrity, as well as its extraordinary Buddhist and Taoist demeanor, are all cast in Liu Shu's character. In front of Liu Gongquan, there have been many famous artists for a long time. How to surpass predecessors and create a new calligraphy style in the new historical time and space is a severe challenge for Liu Gongquan. He didn't flinch, but after decades of unremitting efforts, he finally created a "Liu style" with a brand-new theory, which took on a new look in the middle and late Tang Dynasty.
Edit this passage in "Journey to the Summit".
Liu Gongquan's success in calligraphy is by no means achieved overnight. His history can be roughly scanned into four stages (here, only his regular script is described, and the cursive script is shown in the Guan section).
Early days: looking at the horizon
This period is from twenty to sixty. In the Song Dynasty, Zhao Mingcheng's "Jin Shi Lu" recorded that in the seventeenth year of Zhenyuan (80 1), when Liu Gongquan was twenty-four, he had written the tablet "Hedong Sacrifice to Li Shuo"; This monument was written by Zheng Fei. The original stone was lost in Luoyang, but it is a young book of glory. In the fifteenth year of Yuanhe, at the age of 43, Liu Shu wrote "Zuo Changshi Xue Ping Monument"; In the fourth year of Changqing (824), at the age of 47, he wrote Da Jue Zen Master Taming and so on. Although 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. Before the age of 50, Liu's only works were Postscript to the Thirteen Lines of Luo Shenfu and Engraving the Diamond Sutra (Dunhuang edition) (see the introduction below). 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. Liu Gongquan
According to Records of Jinshilu, Liu Gongquan's works after the age of 50 are: Nirvana and the Monk's Monument (5 1 year old), Li Sheng Monument (52 years old), Wang Bo Monument (53 years old), Epitaph of the Director-General (54 years old) and Bells in the Taiqing Palace (. After Liu was fifty years old, there were only Li Sheng Monument, Ming of Bell Tower in Hui Yuan Pavilion of Datang and Mo Li Postscript, which showed the general situation of Liu Jieshu. Although he can see it and enter the country, it has not yet succeeded. Kang Youwei said: "Liu Cheng hangs the tablet of King Pingxi to learn the Yi Que Stone Temple without its thick spirit, and his physique has not reached. At that time, Gong Liu was over forty years old, and the book was like this. It is not easy to know the ancient masters. Later generations may call this monument, but those who have not solved the book. " If Liu Gongquan can't live to be a hundred years old, he won't become a giant in the book world before he is 60, although he has a good reputation.
In its heyday: Liu Ti's great achievements
Ten years after the age of 60, Liu Shu entered its heyday, just like a sunny day. There are nearly twenty monuments in the literature of this period, such as Su Feng Monument, Cui E Monument in Jinbulang, Jiao Jian, Su Yuan Monument in Wei Jianjun, Huainan and Phosphorus Monument in Wangfu, Yiyang County. Among them, the mysterious pagoda monument and the Shence military monument are typical of Liu Ti, with the most prominent reputation. Shence Army to Mystery Tower Monument and Shence Army Monument have been completed in Liu Ti. In the mid-Tang Dynasty, a fat, deep note with a pen, crisp, quick and healthy, more important than the square, supported by the circle, showing thin and hard lines between crouching and spreading, called "six valleys" (described later). Between strokes, each has its own characteristics. The horizontal elders are thin and stretched, and the horizontal ones are short and strong. 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, balanced left and right, but long and powerful, with dense in the middle and sparse outside. On the whole, Liu Ti's style of writing is as follows: "Yuanmen ranks high, and hygiene is new" (Cen Zongdan's book review): "The calligrapher says that he is afraid of avoiding the easy and the eagle is hungry (Wei Biao), which is not enough to describe his urgency" (Wang Shizhen's Red North Talk). 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.
Mid-term: the charm of sunset
Ten years after the age of seventy, Liu Gongquan entered a new development period. At this stage, there are many books and monuments, namely, according to epigraphy, there are 70-year-old Shang Yuji, Shannan West Road, our envoy Bei, etc., 7 1 year-old books include Niu Sen Rubei, Prince Taifu Liu Mianbei, and 73-year-old books include Puguang Wang Temple Monument. Today, I only saw the monument of Prince Taifu Liu Mian, the monument of Xianci and the monument of Yu. Shence Army Monument
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. Yang Shoujing had a deep understanding of this in the Qing Dynasty. He said, "Gong Wei Temple Monument, Gong Wei Temple Monument, Liu Mian and Su Feng are all humble after all." ("Learn from You") He even thinks that "the' high' monument is particularly perfect". Although Monument to Man (6 1 year old) and Monument to Su Feng (60 years old) were written before the age of 70, the ideological roots of the changes after the age of 70 have long been lurking there. However, after decades of tempering, Liu Gongquan finally failed to take on a new look. During this period, we only saw the charm of Liu Shu in the sunset in Ran Ran.
Late stage: sunset glow in Liu Shu
In the eight years after the age of eighty, Liu Gongquan entered the later period of his life and calligraphy creation. He still nourishes life and calligraphy: life moves forward in the creation of calligraphy, and calligraphy adds luster to life. At the age of eighty-seven, he also wrote the Taibao Prince Monument for the late Wei Dynasty (contained in Bao Bian). From his masterpiece Fudonglin Monument, we can see that he reflected the last sunset glow in his life between the lines of the monument. That kind of elegant demeanour is no longer the vibrant brilliance like the morning sun, nor the scorching sun like the midday sun, but the brilliant sunset; The benefits of a stroke are transferred into it, and the charm is close to nature. The theme and affinity of the whole article are caused by the master's mind and old pen in his later years. Liu Gongquan, like an awakened person, went to the depths of Qingshan, climbed to the top of the mountain, and finally disappeared in Alishan, carving the soul of calligraphy into the peak of calligraphy.
Stand on the shoulders of giants and edit this paragraph.
Liu Gongquan's crown of success is not only woven by hard thorns, but also picked on the shoulders of giants. He is good at absorbing the wisdom and achievements of all calligraphers and turning them into his own calligraphers.
From Zhong Shu and Wang Shu
Liu Gongquan studied hammer calligraphy. As can be seen in the Diamond Sutra, Liu Xie has pointed it out. Tang people know more about the "two kings", but Liu Gongquan can learn the king's books in a way of separation of spirit and form. Ceng Yun and Wang Shizhen: Liu Gongquan "wrote a book and post" Preface to Lanting Collection ".Although he went far to Yin Shan Room, he should be able to learn from the gods and leave a trail." However, Dong Qichang is the closest friend. He saw from Liu Gongquan's book Learning the King that his form was separated from the king, and that God and the king were United. Realizing that the pen was weak, he turned from Liu Fa to the right army (Learning the King in Books). In fact, from Liu Gongquan's cursive script, we can see that some works have both the blood, charm and charm of the king and the appearance of the king's book. Learning from Wang Shu's calligraphy is one of the sources of Liu Shusheng's life.
From Europe and Chu
Liu Shu is translated from the works of Ou Yangxun and Chu Suiliang, and there are many critics. Mi Fei believes that Liu. Kang Youwei said: "Honesty is the change of Europe." Kang Youwei also thought it was a thin and hard school, and then Chu Suiliang and Liu Gongquan all belonged to this school (Yi). Liu Xizai thinks that Liu is closely related to Europe and Chu, that is, Yizhou Temple Monument is a collection of Liu Shucheng for later generations, but it is majestic and graceful, similar to Duke Chu's (artistic outline). Ou Shu's bones and muscles are exposed and his structure is cautious. Chu Shu's pen is flexible, smooth and beautiful, which gives Liu Gongquan useful enlightenment.
From Yan Shu.
Liu Shu benefited a lot from Yan Zhenqing's book. Sue: "Liu's book is beautiful, but it can create new ideas." ("Dongpo Inscription") Zhu Yun: "Building the law is beautiful, making it rich and rich, calling itself a family." ("Continued Book Broken") comes from a specific book "Mysterious Tower Monument"
As far as writing is concerned, some people say that "the mysterious pagoda is a beautiful Guojia Temple" (Liu Xizai's "Art Outline"); Some people say that Lu Gong's Zang Huaike tablet is "the most open", and some people say that "Liu Jian suggested that learning beauty is the starting point" (Guo Shangxian's "Inscription on Building Pavilion"); Some strict Li stele "has the same structure as the family temple and is full of morality, so it is the originator of honesty" (Wang Shizhen's Yizhoushan People's Draft), and so on. Liu Xueyan mainly has four aspects: one is the method of learning beauty. Yan Zhenqing's regular script is well prepared in terms of brushwork and word formation, and Liu gained and lost on this basis, making it more complete. The second is to learn from his charming book style. Replace the charm of his men with the men in his own show. The third is to learn the combination of his character and books. Yan's personality is noble, Yan Shu's style is beautiful, and Liu Gongquan is also a typical example of the combination of book beauty and human beauty. Fourth, study the strict spirit of reform. Yan opened up a magnificent realm beyond the barriers of Wang Shu, not only on a par with Wang Xizhi, but also created his own calligraphy style for the prosperous Tang Dynasty and played the sound of the prosperous Tang Dynasty. Liu also changed it, creating the style of new books in Yuan Dynasty and later, and enriching the voice of the Tang Dynasty. Of course, Liu Gongquan learned a lot. He not only learned from other calligraphers, but also drew nutrition from folk calligraphy (such as the North Monument). In particular, Liu Gongquan's success lies in a group that learns from each other and makes up for each other's shortcomings. For example, Shen Chuanshi, who is ten years older than Liu Gongquan, and Pei Xiu, who is thirteen years younger than Liu Gongquan, are all calligraphers of the same type as Liu Gongquan: they are "fresh school" and "new school". Liu Gongquan's famous monument "Mysterious Pagoda" was written by Pei Xiu, and Pei Xiu's famous monument "Guifeng Dinghui Zen Master Monument" was sealed by Liu Gongquan. Pei's tablet, on the other hand, shows his influence: "His meticulous participation, skillful use of pen and dense knot are all in harmony with sincerity" (Yu Shi). Liu Gongquan's brother Liu Gongzhuo is also good at calligraphy, so it is reasonable to influence each other. The transformation of Liu Gong's power into a giant requires not only wise heart, quality, quantity, degree, shape, spirit and rhyme, but also extraordinary skill and hard training, especially his own spirit and personality. This is why Liu Gongquan became Liu Gongquan.
Edit the characteristics of this passage.
Liu Gongquan's calligraphy was very famous at that time in the Tang Dynasty, and there was a saying among the people that "Liu Zi is a thousand dollars". His calligraphy is vigorous and vigorous, and his words are rigorous and meticulous. From the characteristics of Chinese characters, Wang Xizhi, a beginner, and Yan Zhenqing, a later teacher, are both famous for their thinness and strength. The regular script they wrote is attractive, and the running script and regular script are the most exquisite. Liu Gongquan's calligraphy is called "Liu Style" because of its unique works. Tang Muzong asked Liu Gongquan how to use a pen, and Gong Quan replied: "With a pen in your heart, your heart is always there." Mu Zong was moved by it. Mo Chi, edited by Zhu in Song Dynasty, said: "The running script is the best, but the grass is not. Its law is based on beauty, but it is rich and famous in the world. " "Old Tang Book" says: "Gong Li studied Wang Shu first, read all the modern books, and became a family of his own. At that time, ministers' memorial tablets were not allowed to write calligraphy, which was considered unfilial. Foreigners pay tribute and buy willow books here without signing money. "