Comments on Liu Gongquan

Liu Gongquan is studious, good at ci and fu, and knows the rhythm. He used to be 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. The structure of his book is rigorous, the brushwork is sharp and sharp, and the strength is emphasized. The style of writing is attractive and vigorous, which can be compared with Yan Zhenqing's vigorous and graceful style, and is praised by later generations as Yan Gu. 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.

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) Mu Zong is lazy in politics, and Liu Gongquan uses 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.

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.