1. Famous Quotes:

1. Use your pen with your heart in mind, and if your heart is right, your pen will be right.

2. A righteous heart means a righteous posture.

3. Born in sorrow and died in happiness.

4. The heart is like the thought, and the pen is like a dense mountain.

5. Duke Mu changed his appearance, just like his pen admonishment.

2. Introduction:

Liu Gongquan (778-865), courtesy name Chengxuan, was a native of Jingzhaohua in the Tang Dynasty. He rose to the rank of crown prince and grand master, and was known as "Liu Shaoshi" in the world. . Since he was also named the Duke of Hedong County by the emperor, later generations also called him "Liu Hedong".

He is the successor of Yan Zhenqing. Later generations called them "Yan Liu" and became a model of calligraphy in the past dynasties. Together with Zhao Mengxu, Yan Zhenqing and Ouyang Xun, they are collectively known as the "Four Great Calligraphers". Liu Gongquan, the last great calligrapher of the Tang Dynasty, was a native of Yaoxian County, Shaanxi Province.

He inherited the calligraphy structure of his predecessors and created his own so-called "Liu style", which served as a model for generations until entering the printing era. His calligraphy has taken many incarnations and spread among the people and even abroad. His calligraphy has always been valued in the three dynasties of Muzong, Jingzong and Wenzong of Tang Dynasty. He lived in officialdom and served as a scribe, grew up in the ban, and had a prosperous official career.

"Diamond Sutra Engraved on Stone" (824, when he was forty-seven years old) Liu Gongquan's official book was carved as a horizontal stone with twelve pieces and eleven characters in each line. The original stone was destroyed in the Song Dynasty.

The only Tang rubbings were found in the Dunhuang Grottoes and are now in the Paris Museum. This is an early representative work of Liu Shu (perhaps it was written by a scholar from the Dunhuang Grottoes under the name Liu Gongquan, but it is undoubtedly of the Liu style).

His writing style is rigorous and rigorous, and his strokes are thin, strong, and charming; "Liu Gu" can be first recognized here, and Liu's collection of books can also be known here.

Extended information:

Liu Gongquan’s calligraphy:

The ancients often used the words "Yan Jin Liu Gu" to evaluate. This is compared with Yan Zhenqing's calligraphy style. Generally speaking, Liu style uses mostly strong strokes, with thin strokes and firm and powerful strokes. The middle part of the body is tightened and the outer parts are stretched and bright. This is a new aspect of Liu Gong's power to correct the shortcomings of the increasingly enriched calligraphy style after the Kaiyuan Dynasty in the Tang Dynasty. It is also the biggest feature of Liu style.

From the perspective of structure, the style of Liu Ti Yi Zhan Yan's body is loose on the inside and tight on the outside, with a low center of gravity. It does not have the slender and side features like Ouyang Xun's calligraphy, but the structure of the characters. Tight and loose outside, that is, the middle palace or a certain part is tightened, and the outer part is stretched in a radial shape. The short pen is thick and condensed, while the long pen is slender and stretched. You can contract and stretch freely up and down, left and right, and between the sides, with humility and orderliness.

The contraction is like a clenched fist ready to be fired; the extension of the pen is like a crossbow. Stretching and contracting, the figure is strong and powerful, and the spirit is revealed. The structure of Liu Shu pays attention to rules, is rigorous yet sparse, flat yet dangerous, and the center of gravity is always in the center. The horizontal painting is flat, and the left and right sides are proportional and stable; the solid painting is straight, and the top and bottom are coordinated and unified.

Liu style brushwork pays more attention to the brushwork, which is exquisite and exquisite. Every stroke of his painting is meticulous. The brushwork is both square and round, firm and powerful. The horizontal strokes are drawn with a hidden front, and the square folds are sharp. When the brush is closed, the method of returning to the front and stopping the brush is often used, which makes it look round and powerful. The length and width are thin, slightly convex upward, and elastic; the short length and width are thick, slightly convex downward, dignified and capable.

In the painting, the long strokes are soft and long, the short strokes are straight and short, and they are sharp and unstoppable. The painting is very solemn, the twists and turns are very obvious, and the attack is resolute, like a sharp knife cutting through a mess. The stippling is square on the outside and flat on the inside, with sharp edges and corners. The hook painting often returns to the front and comes out with the hook, and the hook is like an iron sword. Use both turns at the turning point, fold in the middle, turn in the middle, square and circle appear together, clean and neat. The strokes of the painting are sharp and bold, and the attack is free and easy.

The structure and brushwork characteristics of Liu style are a style between European style (Ouyang Xun) and Yan style. For example, the slope of the strokes is slightly more inclined than that of the Yan style but flatter than that of the Ou style. The posture of writing, the writing methods of turning, hooks and points, and the back of the strokes in the structure, etc., all have phenomena in between.

Another example is the processing of the middle and outer frames of the structure. The vertical paintings on both sides of the large outer frame of the willow body (such as the country) clearly have the style of Yan Ti, that is, the two sides are facing each other, while the small mouth The writing style is often larger at the top and smaller at the bottom, in an inverted trapezoid shape, which is influenced by Ouyang Xun's calligraphy.

The characteristics of Liu Shu that are derived from European and Dian calligraphy styles are not a simple mechanical combination, but the result of full absorption and digestion. This can also be said to be an example of entering and exiting calligraphy in calligraphy learning. .

Baidu Encyclopedia - The Mysterious Pagoda Stele of Liu Gongquan in the Tang Dynasty and its writing techniques