Liu Gongquan
Liu Gongquan (778 AD - 865 AD), courtesy name Chengxuan, was a famous calligrapher in the Tang Dynasty and a native of Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). He rose to the rank of Prince's Shaoshi, and was known as "Liu Shaoshi" in the world. Liu Gongquan's calligraphy is famous for his regular script. He is as famous as Yan Zhenqing and is known as Yan Liu. He first learned calligraphy from Wang Xizhi. Later, he looked at the calligraphy of famous calligraphers in the Tang Dynasty. He thought that Yan Zhenqing and Ouyang Xun's calligraphy were the best, so he absorbed the strengths of Yan and Ou, and formed his own calligraphy between the Jin people's charm and Yan's calligraphy. Willow body is famous for its strong bones, and later generations have the reputation of "Yan Jin Liu Gu". He created many works in his life, mainly including "Inscription on the Bell Tower of the Huiyuan Temple of the Tang Dynasty", "Stone Carvings of the Diamond Sutra", "Mysterious Pagoda Stele", "Feng Su Stele" and "Shence Army Stele". There are also ink inscriptions "Mengzhao Tie" and "Wang Xianzhi's Pear Sending Postscript".
Chinese name: Liu Gongquan
Alias: Chengxuan
Nationality: Chinese
Date of birth: 778 AD
Date of death: 865 AD
Occupation: Calligrapher
Representative works: "Diamond Sutra Stele"; "Mysterious Tower Stele"; "Shence Military Discipline Shengde Stele" wait.
Table of contents
Introduction
Character’s life and career as a royal clerk
Noble character quality
The path to The Endless Journey Early Stage: Looking to the End of the World
Heyday: The Great Success of Liu Shu
Middle Period: The Charm of the Setting Sun
Late Period: The Sunset Glow of Liu Shu
p>Standing on the shoulders of giants came out of Zhongshu and Wang Shu
Brewed out of Ou and Chuzhong
Goed out of Yan Shu
Features of the work
The famous work "Diamond Sutra Engraved Stone"
"Li Sheng Stele"
"Huiyuan Guan Bell Tower Inscription and Preface"
" "Fengsu Stele"
"Fulin Stele"
"Mysterious Tower Stele"
"Shence Army Stele"
" "Liu Mian Monument"
"Wei Gongxian Temple Monument"
"Gao Yuanyu Monument"
Stories and legends of guarding against arrogance and becoming famous
Being honest and honest
Introduction to Liu Gongquan’s tomb
The character’s life and career as a royal clerk
Noble character quality
The early days of the journey to the top: Hope End of the World
Heyday: The Great Success of Liu Shu
Middle Period: The Charm of the Setting Sun
Late Period: The Sunset of Liu Shu
Station On the Shoulders of Giants comes from Zhongshu and Wangshu
From Ou and Chuzhong
From Yanshu
Features of the work
Famous works "Diamond Sutra Engraved on Stone"
"Li Sheng Stele"
"Huiyuan Temple Bell Tower Inscription with Preface"
"Feng Su Stele"
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"Fu Lin Stele"
"Mysterious Tower Stele"
"Shence Army Stele"
"Liu Mian Stele"
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"The Monument of Wei Gongxian in the Temple"
"The Monument of Gao Yuanyu"
Story and legend of guarding against arrogance and becoming famous
A correct heart and a correct pen
Tomb of Liu Gongquan
Liu Gongquan (778--865) was a calligrapher of the Tang Dynasty in China. The word Chengxuan. A native of Jingzhao Huayuan (now Yaoxian County, Shaanxi Province).
He once served as a bachelor of the Hanlin Academy, a scholar of Zhongshu Sheren, a bachelor of the Hanlin Shuzhao, the crown prince's Taibao, and was granted the title of Duke of Hedong County. He has an upright temperament and dares to speak out and give advice. He was good at regular script and studied extensively in the Wei, Jin and early Tang dynasties, and was greatly influenced by Yan Zhenqing. The structure of his calligraphy is tight, the strokes are sharp and sharp, and he emphasizes bone strength. His calligraphy style is charming and vigorous, which can be compared with Yan Zhenqing's vigorous and graceful calligraphy style, and he is praised by future generations as "Yan Jin Liu Gu". It has a great influence on the history of calligraphy. Liu Gongquan's ink writings handed down from generation to generation include the "Inscription and Postscript on the Pear-Sending Tie", and the inscriptions on the tablets include "The Diamond Sutra Stele", "The Mysterious Tower Stele", "The Stele of Shence's Military Discipline and Saint Virtue", "The Stele of Li Sheng, Prince of Pingxi Prefecture", "Stele of Fu Lin, Prince of Xiyang Prefecture", "Wei Gongxian Temple Stele", "Gao Yuanyu Stele", "Feng Su Stele", "Mrs. Su's Epitaph", "Li Shi Shinto Stele", "Datang Huiyuan Temple Bell Tower Inscription", etc.
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Edit the biographies of the characters in this paragraph
The culture of the Tang Dynasty was magnificent, and there were many famous calligraphy artists. In the early Tang Dynasty, there were Ou, Yu, Chu, and Xue; in the prosperous Tang Dynasty, there were Zhang Xu, Yan Zhenqing, and Huai Su; in the middle and late Tang Dynasty, there were Liu Gongquan and Shen Chuanshi. Liu Gongquan took over the banner of regular script from Yan Zhenqing, created his own "Liu style", and climbed to another peak. Later generations were collectively known as "Yan Liu" and became a model of calligraphy art in the past dynasties.
Royal scribe career
In 778 AD, the thirteenth year of Emperor Daizong of the Tang Dynasty, Liu Gongquan was born in Huayuan, Jingzhao (now Yaoxian County, Shaanxi Province), with the courtesy name Chengxuan. His ancestor Liu Zhengli was a scholar in Pizhou in the Tang Dynasty and joined the army. His father Liu Ziwen served as the governor of Danzhou, and his brother was Liu Gongchuo, a famous official in the Tang Dynasty. In the third year of Yuanhe of Xianzong (808), 31-year-old Liu Gongquan passed the imperial examination and passed the imperial examination that year. From then on, Liu Gongquan began a long official career and served in seven dynasties: Xianzong, Mu Zong, Jingzong, Wenzong, Wuzong, Xuanzong, and Yizong. During the reign of Emperor Xianzong, Liu Gongquan served as secretary and provincial school secretary. "Li Tingzhen Xiazhou was appointed as the secretary in charge" ("Old Book of Tang Dynasty"). Li Ting and Liu had this friendship, so Liu even wrote a monument for him in his later years. Landscape of Liu Gongquan's tomb (15 photos) After Mu Zong ascended the throne, Liu Gongquan entered the memorial service. Mu Zong summoned Liu Gongquan and said, "I saw your handwriting in the Buddhist temple and I have thought about Liu Gongquan for a long time." That day, he paid homage to You and collected his relics. From then on, he served in the book ban during the three dynasties of Muzong, Jingzong and Wenzong. The emperor's favor and the prosperity of life did not bring happiness to Liu Gongquan. But there was anguish and vague shame in his heart that he couldn't get rid of. He loves the art of calligraphy, but he does not want to make it his entire life; his ambition to make contributions is always in his chest. The status of the servants who followed the emperor was only equal to that of "gongzhu". Therefore, his brother Liu Gongchuo once wrote to Prime Minister Li Zongzhen, saying: "My brother has worked hard on his art of diction, and he was used as a servant in the previous dynasty. He worked together to pray. I am really ashamed of him, so I begged for a chance to change my rank." It was changed to Yousi Langzhong, and he was replaced by Si Feng, Erlangzhong of the Ministry of War, and a bachelor of Hongwenguan. Emperor Wenzong of the Tang Dynasty loved Liu Gongquan's calligraphy very much, so he called him a calligrapher and moved him to admonish the officials. Later, he was changed to Zhongshusheren and became a scholar of Hanlin calligraphy. In the third year of Kaicheng's reign, he was transferred to the Ministry of Industry and the Ministry of Industry. During the reign of Emperor Wu Zong, he was dismissed from his internal duties and appointed as a regular attendant on Yousanqi. Prime Minister Cui Gongyong served as a scholar of Jixian and judged court affairs. During the reign of Emperor Xuanzong, he was granted the eldest son Zhan Shi by Zuo, and was moved to the position of guest. He was moved to Jin Ziguanglu, the official, and to the founding Duke of Shangzhu Kingdom and Hedong County. He became Zuo Changshi again, the prince of the state offered wine, and he was the minister of the Ministry of Industry. During the reign of Yizong, in the early years of Xiantong, Liu Gongquan was renamed Prince Shaofu and Shaoshi. He died in the sixth year of Xiantong (865) and was given to the Prince Taishi at the age of eighty-eight. Liu Gongquan had a prosperous official career, but at the age of eighty-two, due to old age and frailty, his reaction was a little slow. When he was given the title, he accidentally made a mistake. The censor impeached him, and he was fined a season's salary. Emperors of all dynasties loved his calligraphy and poetic talent, and even accepted his advice. Throughout Liu's life, except for a short period of time when he was an official abroad, he was basically in the capital, in the palace, and by the emperor's side. Throughout his life, he has been constantly writing monuments for the royal family, ministers, and relatives and friends. Liu Gongquan is quite like a canary in a cage. Such a life makes him lack magnanimity, broad vision, and vast source of life. Yan's body has been changing from monument to monument, but Liu's body has changed less after it matured; Yan Zhenqing is like a roaring torrent, but Liu Gongquan is like cave water flowing in the deep mountains and old forests. These are two different sentiments of life.
Noble character quality
Liu Gongquan received the teachings on "virtue" from the "Liu Family Instructions" from an early age, so he has been guided by virtue throughout his life and has "extensive knowledge of classics". He has a Confucian style in life and calligraphy. Liu Gongquan's "pen admonishment" has become a "model" for later generations of scholar-bureaucrats: Mu Zong was secluded in politics. He asked Gongquan how to use the pen well, and he said: "Use the pen with the heart in mind, and the heart will be correct in writing." "Zheng." He changed his appearance and learned about his writing advice. ("Old Tang Book") Liu Gongquan's calligraphy (18 photos) Mu Zong was indifferent to government affairs, and Liu Gongquan used books to describe government affairs, from here to there, and skillfully gave advice. From then on, the saying "the heart is right and the pen is right" has been passed down to later generations. It can be seen from this that Liu Gongquan dared to speak out or politely to give advice when he was "serving the book ban". Liu Gongquan performed calligraphy in front of the emperor and courtiers, which was another aspect of his life of "serving calligraphy".
His poetry and calligraphy talents made the emperor "wonderfully cherish him". Despite this, Liu Gongquan's mind is not inclined to indulge in this end. External glory cannot eliminate inner depression. He "has extensive knowledge of classics, and is particularly proficient in "Poems", "Books", "Zuo Shi Chun Qiu", "Guo Yu", and "Zhuang Zhou". Each explanation of a meaning must be hundreds of words" ("New Book of Tang") . What is worth noting here is that when he was studying Confucianism, he also studied Zhuangzi at the same time, and he gained a profound understanding of it. At the same time, Liu Gongquan drew spiritual nourishment from Confucianism, Buddhism and Taoism, seeking complementarity and balance, and seeking some kind of transcendence. He has extensive contact with Buddhism and the Diamond Sutra
Taoism, and has created various calligraphy creations. He wrote the "Diamond Sutra" many times. Although only the Dunhuang rubbings are available today, there are many predecessors who recorded the "Diamond Sutra" in Liu Shu. In addition, Gongquan also wrote the Preface to the Yin Fu Sutra, the Qing Jing Sutra, and the Sutra of Saving People. He wrote many inscriptions and pagoda inscriptions on monks in the Tang Dynasty, among which his "Mysterious Pagoda Inscription of Master Dada" is the most famous one. There are also many calligraphy and steles in Liu Yu's Buddhist temple. Famous ones such as "Inscription on Bell Tower of Huiyuan Temple" and "Stele of Fudonglin Temple" are outstanding among them. Liu Gongquan has Buddhism and Taoism to comfort his soul, so he is quite detached in the world of mortals. He even disdained money. He writes monuments for others and earns a huge amount of income every year. His slaves Haiou and Long An often steal his money and artifacts, but he takes it lightly. In addition, Liu Gongquan is also "a proficient in music", but "is not good at playing music". Chang Yun said: "listening to music makes people arrogant and lazy." ("Old Book of Tang") Liu Gongquan has many aspects of knowledge and literacy, so he is nourished by his soul. The calligraphy skills produced are also swaying and varied. His resolute and upright nature and his transcendent Buddhist and Taoist demeanor are all infused in Liu Shu's character. The Road to Liu Ti In front of Liu Gongquan, there have been many famous figures for a long time. How to surpass the predecessors and how to create a new style of calligraphy in the new historical time and space are the severe challenges faced by Liu Gongquan. He did not shrink back, but instead used decades of tireless training and extensive casting to finally create the "Liu Ti" with its own new principles and characteristics, which took on a new look and showed off its style in the middle and late Tang Dynasty.
Edit this paragraph’s journey to the top
Liu Gongquan’s success in calligraphy was by no means achieved overnight. His journey can be roughly scanned in four phases (this only describes his regular script, Please see the "Liu Shu Liu Guan" section for cursive writing).
Early Years: Seeing the End of the World
This period is from the twenties to the sixties. Song Zhao Mingcheng's "Jinshilu" records: In the seventeenth year of Zhenyuan (801), when Liu Gongquan was 24 years old, he wrote the stele "Hedong Jiedu Li Shuo Stele"; this stele was written by Zheng Dan, and the original stone was lost in Luoyang, but One might imagine that it is the book of young Yanhua. In the fifteenth year of Yuanhe, at the age of forty-three, Liu wrote the "Stele of Zuo Changshi Xue Ping"; in the fourth year of Changqing (824), when he was forty-seven, he wrote the "Inscription on the Pagoda of Zen Master Dajue" and so on. Although these writings no longer exist, it can be seen that his calligraphy skills in his twenties have been valued by the society, otherwise he would not be favored by these powerful people. Liu Zai's works before the age of 50 can only be seen in "Thirteen Lines Postscript to Luo Shen Fu" and "Diamond Sutra Engraved Stone" (Dunhuang Edition) (see introduction below). It can be seen from this that he learned the calligraphy style of Chui Yao and Wang Xizhi, and imitated the postures of Yu Shinan, Ouyang Xun, Chu Suiliang, and Lu Jianzhi. Liu Gongquan
Liu Gongquan’s works after the age of 50, according to "Inscriptions and Stones", include: "Monk Nirvana Stele" (51 years old), "Li Sheng Stele" (52 years old), "Wang Bo's Monument" (53 years old), "Epitaph of General Supervisor Wei Wenke" (54 years old), Taiqing Palace Bell Inscription (54 years old), "Mr. Shengxuan Liu's Monument" (56 years old) ), "Inscription on the Bell Tower of Huiyuan Temple of the Tang Dynasty" (59 years old), "Stele presented to Taiwei Wang Zhixing" (59 years old), etc. After Liu turned fifty, he only had the "Li Sheng Stele", the "Bell Tower Inscription of Huiyuan Temple of the Tang Dynasty" and the ink "Postscript to Sending Pear Posters", showing the general appearance of his regular script. Although it can be seen and progressed, it has not yet been completed. Kang Youwei said: "Liu Chengxuan studied "Yique Stone Niche" in "Pingxi King Stele" but he was not as generous and his physique was not mature. Liu Gong was already over forty years old at that time. The book is like this. It can be seen that it is not easy for famous masters in ancient times to learn from it. , later generations may call this stele, but they have not understood the art of calligraphy." ("Guang Yi Zhou Shuang Yi") If Liu Gongquan did not live a long life, then before the age of sixty, although he had a good reputation, he failed to become a giant in the calligraphy world. .
Heyday: The Great Success of Liu Ti
In the ten years after the age of sixty, Liu Shu entered its heyday, like the sun shining brightly in the sky. During this period, the documents contained nearly twenty steles, such as the "Feng Su Stele", the "Stele of Cui Zhen, the Doctor of the Jin Department", the "Stele of Wei Yuanyu, the Supervisor of the Huainan Army", and the "Stele of Fu Phosphorus, King of Yiyang County". "Mysterious Tower Stele" and "Shence Army Stele" are typical examples of willow style and are the most famous. From "Shence Army Stele" to "Mysterious Tower Stele" and "Shence Army Stele" the willow body has been completed. It changed into the plump style of the mid-Tang Dynasty, with deep pen force, sharp and fast, focusing on squares and supplementing them with circles, and showing thin, hard and strong lines between the squat front and the thin lines. This is "Willow Bone" (explained below). The strokes have their own faces. The longer horizontal strokes are thin and stretched, while the shorter horizontal strokes are thicker and more powerful. The vertical strokes are thicker than the horizontal strokes, so they are used as the main strokes to look for changes. The longer strokes are lighter and the shorter strokes are different. Heavy; the attack must be heavy, showing strength; the hook, kick, and challenge must be sharp and then come back quickly. The willow script on the knot is also similar to Yan Zhenqing's calligraphy that shows people from the front. The left and right sides are more evenly balanced, but the length is long and the momentum is dense in the middle and sparse in the outer. In terms of the overall style of calligraphy, the Liu style is like "The private soldiers of the Yuanmen, the surroundings are guarded" (Cen Zongdan's book review): "The calligrapher said that he was scared to avoid the approaching tiger, and the hungry eagle descended (Wei Xie), which is not enough to describe the eagerness of the bird" (Wang Shizhen's "Chibei Ou") talk"). Willow style has strict laws and regulations, and the face has changed from the fatness of face to body, and it has become fresh, straight, thin, hard and spiritual. In the late Tang Dynasty, it aroused people's appreciation for willow style with a new calligraphy style and its charming beauty.
Mid-term: The Charm of the Setting Sun
In the ten years after turning seventy, Liu Gongquan entered a new period of development. There are many records in books and tablets at this stage. According to the Records of Gold and Stone, there are "Shang Yu Xinyi Ji" written when he was seventy years old, "Stele of Wang Qi, the Jiedu Envoy of Shannan West Road", etc., written at the age of seventy-one. There are nearly ten works including the "Niu Sengru Monument", the "Prince Taifu Liu Mian Monument", and the "Puguang Wang Temple Monument" written by the 73-year-old. Today we only see the "Prince Taifu Liu Mian Stele", "Wei Gongxian Temple Stele", "Gao Yuanyu Stele" and so on. "Shence Army Stele"
From the above steles, it can be seen that Liu Gongquan seems to want to create a new one after the "Mysterious Tower Stele" and "Shence Army Stele" which vividly exposed the willow body. realm. I want to use lightness and clumsiness to penetrate the brushwork, simplicity to penetrate the structure, and elegance to penetrate the charm. Therefore, in the middle period, the brushstrokes that were like cutting steel and casting were somewhat restrained, the exposed tendrils were somewhat hidden, and the severe and severe wind edges were restrained somewhat. Yang Shoujing of the Qing Dynasty had a particularly deep understanding of this. He said: "The Fu Lin Stele, Wei Gongxian Temple Stele, Liu Mian, and Feng Su all submitted to their talents and were ultimately elegant." ("Xue Shu Yi Yan") He even believed that "the monument "Gao Yuanyu" is particularly perfect. Although "Fu Lin Stele" (61 years old) and "Feng Su Bei" (60 years old) were both written before the age of 70, the changes after the age of 70 have their ideological roots already hidden there. However, the "willow bones" have been refined for decades, and Liu Gongquan has never been able to take on a new look. We only see the charm of Liu Shu during this period.
Late period: Liu Shu’s sunset
In the eight years after the age of eighty, Liu Gongquan entered the late period of his life and calligraphy creation. He still allows life and calligraphy art to nourish each other: life moves forward in the creation of calligraphy art, and calligraphy art embellishes and shines on life. When he was eighty-seven years old, he still wrote the "Stele of Wei Mo, the Prince's Taibao" (recorded in "Bao Ke Lei Bian"). From his representative work "Fudonglin Stele", we can see that the sunset glow of the last period of his life was reflected in the words of the stele. That kind of style is no longer like the brilliance of the morning sun, full of vitality, nor like the scorching sun at noon, but a brilliant sunset; the sharpness of the pen turns to the inside, the charm is close to nature, and the purpose of the whole article is as big as the grandeur. Transformation of affinity is the result of Zongjiang's mental realization in his later years and his old writing style. Like an enlightened man, Liu Gongquan walked deep into the green mountains, climbed to the top, and finally disappeared in Shan Ali, carving the soul of his books into the peaks of calligraphy.
Edit this paragraph to stand on the shoulders of giants
The crown of Liu Gongquan’s success is not only made up of thorns of hard work, but also picked by standing on the shoulders of giants. He is good at absorbing the wisdom and achievements of calligraphy masters and turning them into his own calligraphy masters.
From Zhongshu and Wangshu
Liu Gongquan studied Chui Yao Shu, which can be seen in the Diamond Sutra, and Liu Ding had already pointed it out.
People in the Tang Dynasty mostly studied the "two kings" books, but Liu Gongquan studied the kings' books and was able to take their spirit and separate from their form. Wang Shizhen once said: "The "Lanting" post written by Liu Gongquan, although it is far away from the Shanyin room, is probably a person who can learn from the gods and leave the traces." ("Shu Lin Zao Jian") Dong Qichang was the best friend. He learned from Liu Gongquan in Wang's book. Seeing that its shape is separate from the king, and the spirit is combined with the king, I realize that the brush used is ancient and light, and it has moved from Liu Fa to You Jun ("Shu Lin Zao Jian"). In fact, from Liu Gongquan's cursive writings, we can see that some works not only have the king's blood, style, and charm, but also have glyphs and structures similar to those written by the king. Drawing calligraphy nutrition from Wang Shu is one of the sources of life for Liu Shu.
From the books of Ouyang Xun and Chu Suiliang
Liu Shu was derived from the books of Ouyang Xun and Chu Suiliang, and there are many commentators. Mi Fu believes that Liu Shiou. Kang Youwei said: "Sincerity is suspended, Europe will change its style." Kang Youwei also believed that Cui Hao was a thin and hard-line school, and later Chu Suiliang, Liu Gongquan, and Shen Chuanshi all belonged to this school ("Guang Yi Zhou Shuang Yi"). Liu Xizai believed that Liu was closely related to Ou and Chu. For example, the "Yizhou Puzhao Temple Stele" was compiled from Liu's writings by later generations. However, it is strong and graceful, and is similar to Chu Gong ("Yi Gai"). Ou Shu's muscles and bones are exposed and his structure is rigorous. Chu Shu's pen is slender, fluent and beautiful, which gave Liu Gongquan useful inspiration.
From Yan Shu
Liu Shu gained the most from Yan Zhenqing’s book. Su Shi said: "Master Liu's books are based on his appearance, and he can come up with new ideas on his own." ("Dongpo Inscriptions and Postscripts") Zhu Changwen said: Liu's books are based on his appearance, and he adds elegance and richness to it, which makes him famous. ("Continued Book Break") In terms of the specific work of the "Xuanmi Pagoda Stele", some say that ""Xuanmi Pagoda" originated from the Guo Family Temple" (Liu Xizai's "Art Introduction") ; Some say that Lu Gong's "Zang Huaike Stele" is "the most open" and "Liu Jian said that this is where he starts learning Yan" (Guo Shangxian's "Fangjian Pavilion Inscription and Postscript"); some say that Yan's "Li Yuanjing Stele" is "the most comprehensive and comprehensive "Family Temple" is the same, and the Taoism is vigorous, so it is the originator of Chengxuan" (Wang Shizhen's "Yanzhou Mountain Manuscript"), and so on. Liu Xueyan mainly has four aspects: First, the method of studying Yan. Yan Zhenqing's regular script is very well-established in terms of calligraphy and word formation, and Liu made gains and losses on this basis to make it more complete. The second is to learn from his majestic calligraphy style. Change the beauty of his masculinity into his own beauty. The third is to learn the combination of his personality and book quality. Yan's noble personality and Yan's calligraphy style are both beautiful. Liu Gongquan is also a typical example of the combination of beauty in calligraphy and beauty in people. The fourth is the reform spirit of learning Yan. Yan opened up a new realm of magnificence beyond the confines of Wang's calligraphy. Not only was he comparable to Wang Xizhi, but he also created a style of calligraphy of his own era for the prosperous Tang Dynasty and played the voice of the prosperous Tang Dynasty. Liu Ze changed it again, creating new calligraphy styles in Yuan Dynasty and later, which enriched the sound of the Tang Dynasty. Of course, Liu Gongquan learned a lot. He not only learned from other calligraphers, but also learned from folk calligraphy (such as Beibei). It should be pointed out in particular that Liu Gongquan’s success lies in having a group that learns from each other and learns from each other’s strengths. For example, Shen Chuanshi, who was ten years older than Liu Gongquan, and Pei Xiu, who was thirteen years younger than Gongquan, were both regarded as calligraphers of the same type as Liu Gongquan: advocating "pure energy" and "mingxin style". Liu Gongquan's famous stele "Mysterious Tower" was written by Pei Xiu, and Pei Xiu's famous stele "Guifeng Dinghui Zen Master's Stele" was written by Liu Gongquan. As for Pei's stele, we can see the influence of Liu Shu. "If you look closely at it, the control of his brushstrokes and the density of the structure are inseparable from the sincerity of Xuan Xin" ("Yu Shi"). Liu Gongquan's brother Liu Gongchuo is also good at calligraphy, so it is reasonable for them to influence each other. Liu Gongquan's ability to transform into a giant requires not only a wise heart, but also a wise heart to select quality, quantity, measure, refine form, spirit, rhyme, and smelt. It also requires extraordinary skills and hard training, especially his own spirit. and personality decomposition. This is why Liu Gongquan became Liu Gongquan.
Edit Features of this paragraph's work
Liu Gongquan's calligraphy was famous in the Tang Dynasty, and there is a saying among the people that "one word of Liu is worth a thousand gold". His calligraphy is strong, precise and meticulous. In terms of the characteristics of calligraphy, Wang Xizhi first studied and Yan Zhenqing later studied. He is famous for his thinness and strength. His regular scripts are vigorous and charming, with strong bones and roads. Running script and regular script are the most exquisite. Because of the unique characteristics of his works, Liu Gongquan's calligraphy is known as "Liu style". Emperor Mu Zong of the Tang Dynasty asked Liu Gongquan how to use his pen. Gong Quan replied: "Use the pen with your heart, and if your heart is upright, your pen will be correct." Mu Zong was moved by this. .
Zhu Changwen of the Song Dynasty said in "Mo Chi Bian": "Gongquan's official script and regular script are both of the most exquisite quality, and they are beyond the reach of grass. The method comes from the appearance, but adds strength and richness, and comes from a famous master." "Old Book of Tang Dynasty" said: "Gongquan first learned Wang's calligraphy, read all over modern calligraphy, and became a master of his own. At that time, Gongquan's family tablets were not allowed to be written in Gongquan's handwriting. People thought it was unfilial. When foreigners paid tribute, they all signed currency, saying this is to buy willow. Book."