Liu Gongquan's Stele of the Profound Secrets

Author: Shanghai Fine Arts Publishing House
Publisher:
Publishing Date: 2005-03-01
Features: This book is one of the "Classics of Chinese Stele and Calligraphy" series, showcasing the "Xuan Mi Tower Stele" by Liu Gongquan. The characters in this stele are well-proportioned, with round and graceful brushwork, and a dignified and elegant layout. This calligraphy book not only possesses extremely high artistic appreciation and collection value but also allows to experience an ideal realm of classical Chinese calligraphy, embodying gentleness within strength, soft yet firm. Beginners can practice by imitating the brushwork, structure, and composition of each character. This calligraphy book is a rare treasure and can be considered the best model for beginners.
During the Tang Dynasty, after the relatively stable period following the reigns of Emperor Taizong and Emperor Kailuan (from the first year of Emperor Xuanzong's Kaiyuan era to the end of Emperor Shaozong's reign), a period of about fifty years of stability emerged in history, known as the High Tang period. The economy flourished, and society was peaceful. Du Fu once praised this era in a poem: "I recall the Kaiyuan era's prosperity, even small towns housed ten thousand households. Rice flowed like fat, millet was white, granaries of both the state and private were full. Roads across the nine provinces were free of wolves and tigers, and long journeys did not require auspicious days to set out." Due to economic prosperity, the High Tang period saw a surge of calligraphers, including famous figures such as Zhang Xu, Huai Su, Yan Zhenqing, Cai Youlin, Zhang Congshen, Li Yangbing, and Wei Qiwu. After the four masters of early Tang calligraphy, the High Tang period experienced another prosperous era. In the Middle Tang period, from the first year of Emperor Daizong's Dali era (766) to the ninth year of Emperor Wenzong's Taihe era (835), a relatively stable period persisted, giving rise to the calligraphy of the Middle Tang period, represented by Liu Gongquan.
Liu Gongquan was born in the thirteenth year of Emperor Daizong's Dali era (778) and died in the sixth year of Emperor Yizong's Xiantong era (865). His courtesy name was Chengxuan, and he was from Huayuan, Jingzhao (now Yao County, Shaanxi). He devoted himself to studying classics, especially the "Book of Songs," "Book of Documents," "Zuo Zhuan," "Guoyu," and "Zhuangzi," and was renowned alongside his brother, Liu Gongchu. At the age of twenty-nine during the early Yuanhe era, he passed the imperial examination and later became a Zhongshu Shehui (a high-ranking official position) under Emperor Wenzong, serving as a scholar in the Hanlin Academy. He often discussed calligraphy with Emperor Wenzong. After Emperor Wuzong ascended the throne, he was demoted to the position of "Right" (a court official). By then, he was already past his prime, and his advanced age often led him to lose court etiquette during ceremonies. In the early Xiantong era, he was appointed as a Grand Tutor to the Heir Apparent but passed away shortly after due to illness, at the age of eighty-eight.
Liu Gongquan initially studied the calligraphy of Wang Xizhi but later explored various contemporary styles, refining and developing his own unique style. He also learned from Yan Zhenqing's regular script but transformed Yan's thick and fleshy brushwork into clear, upright, and vigorous strokes, as Su Shi once remarked: "Liu Shao Shi originally drew inspiration from Yan, yet he created something entirely new, making each character worth a hundred gold pieces—a truth not without merit." This "newness" lies in his brushwork, which incorporates the sharp and decisive style of Northern Stele calligraphy, while his composition blends the features of Ouyang Xun and Yu Shinan's diagonal, tight, and centralized structures. He skillfully merged the styles of Yan and Ouyang, creating a unique calligraphic style characterized by clarity, strength, and elegance. Mi Fu, in his "Sehai Shupin" (Commentary on the Calligraphy of the Sea of Mountains), described his characters as "like a hermit in deep mountains, having achieved cultivation, with a clear and vigorous spirit, free of any worldly dust."
Due to the forceful and upright brushwork of Liu Gongquan's regular script, he was known as the "Yan's sinews and Liu's bones," with "sinews" representing restraint and "bones" representing decisiveness. His calligraphy, rich in yang (masculine) beauty, was deeply admired by people. Moreover, his advice to "place the mind in the brush, and if the mind is upright, the brush will be upright," combined with his upright and independent character, made him a legendary figure. According to the "Old Book of the Tang Dynasty," "Liu Gongquan initially studied Wang's calligraphy, explored various contemporary styles, and developed a vigorous and graceful style, establishing his own unique school. At that time, if a noble or minister's stele did not bear his handwriting, it was considered a sign of disrespect. Foreign envoys, when presenting gifts, would specially note that they were purchasing Liu's calligraphy." This shows that his calligraphy was already renowned both domestically and internationally.
Liu Gongquan's regular script continues to be admired by people today and is considered the best model for beginners. The strength of Liu's characters lies in their bone structure, and if beginners merely focus on superficial elegance, they may easily fall into frivolous and cloying styles. This must be carefully avoided. Famous steles passed down by Liu Gongquan include the "Shen Ce Jun Stele," "Li Sheng Stele," "Fu Lin Stele," "Diamond Sutra," and "Hui Yuan Guan Zhong Lou Ming." His surviving calligraphic works include the "Meng Zhao Tie" and "Song Li Tie." The "Xuan Mi Tower Stele" published in this volume is a representative work of Liu Gongquan's regular script. This stele is also known as the "Tang Da Da Fa Xuan Mi Tower Stele," with twenty-eight lines and fifty-four characters per line, erected in the first year of Emperor Wuzong's Huichang era (841). Originally located in An Guo Temple in Wan Nian County, Shaanxi, it is now preserved in the Xi'an Stele Forest. This edition is published using the best Song-era rubbing recommended by the renowned stele expert Wang Zhuanghong, to delight and benefit all calligraphy enthusiasts.