He even thinks that "the high monument is particularly perfect."
Although the Monument to Love and the Monument to Su Feng 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.
In the eight years from the age of 80, Liu Gongquan nourished the interaction between life and calligraphy: life moves forward in calligraphy creation, and calligraphy adds luster to life. At the age of 87, he also erected a monument for Wei Mo, the Prince Taibao.
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 into the mountains, condensing the soul of calligraphy into the mountains of calligraphy.
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.
Liu Gongquan first studied Zhong You's calligraphy, which can be seen from the Diamond Sutra. Most calligraphers in the Tang Dynasty studied the calligraphy of the "two kings", while Liu Gongquan studied the calligraphy of Wang Xizhi and Wang Xianzhi, but he could draw inspiration from the form.
Dong Qichang was a famous calligrapher and collector in Ming Dynasty and a close friend of Liu Gongquan. He saw from Liu Gongquan's "Learning the King" that his form was separated from the king, and his god and the king became one. He realized that the pen was ancient and indifferent, so he turned from Liu Fa to the right army.
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.
Later, Liu Gongquan's calligraphy absorbed many advantages of Ou Yangxun and Chu Suiliang, and gradually formed his own style. Mi Fei, a famous painter in Song Dynasty, believed that Liu Gongquan studied under Ou Yangxun. Kang Youwei, a famous scholar in Qing Dynasty, said: "Sincerity is the change of Europe."
Kang Youwei, a celebrity in Qing Dynasty, thought that Ho Choi was a hardcore school, and later Chu Suiliang, Liu Gongquan and Shen Chuanshi all belonged to this school. Liu Gongquan's calligraphy is closely related to Europe and Chu, that is, Yizhou Zhao Pu Temple Monument is a collection of Liu Shucheng by later generations. However, it is vigorous and graceful, but it is similar to Gong Chu. Ou Shu's bones and muscles are exposed and his structure is rigorous. Chu Shu's pen is flexible, smooth and beautiful, which gives Liu Gongquan useful enlightenment.