Complete Collection of Liu Gongquan's Calligraphy

Author: (Tang) Liu Gongquan, edited by Pang Yuanguang
Publisher:
Publishing Date: 1998-05-01
Features: Liu Gongquan (AD 778–865), styled Chengxuan, was a native of Huayuan, Jingzhao (now Yaoyuan, Shaanxi). He passed the imperial examination during the Yuanhe era of Emperor Xianzong of the Tang Dynasty and initially served as a schoolmaster in the Secretariat Department. After Emperor Muzong Li Heng ascended the throne, he was appointed as a Right Supplementary and later served as a Scholar-in-Retirement in the Hanlin Academy. During the Wenzong era, he was promoted to Vice Director of the Chancellery and Chancellery Vice Censor-in-Chief, enfeoffed as Marquis of Hedong, and later served as Vice Grand Tutor and Vice Imperial Preceptor, earning the title "Vice Grand Tutor Liu."
Liu Gongquan was intelligent from a young age, skilled in poetry and calligraphy, and was hailed as a "prodigy." There is a poem praising him that says: "Chengxuan at twelve excelled in poetry, the Yuanhe emperor knew his name." Initially, Liu Gongquan studied calligraphy under Wang Xizhi, later learning from Ouyang Xun and Yu Shennan, and was influenced by Chu Suiliang and Yan Zhenqing. He became one of the great calligraphers of late Tang, following Yan Zhenqing, and was often compared to him. People frequently used the phrase "Yan's sinews, Liu's bones" to evaluate their calligraphy. Liu Gongquan's calligraphy, particularly his regular script, was exceptional, with his brushwork and structure reaching a level of perfection, earning him the title "Liu Style." The "Liu Style" had a profound impact on both his time and later generations. Historical records state that officials and scholars of the era considered it a sign of disrespect if their steles and epitaphs were not inscribed by Liu Gongquan. This demonstrates the immense reputation he held.
Additionally, Liu Gongquan was honest and upright in character. Emperor Muzong, who indulged in pleasure and neglected governance, once asked Liu Gongquan about the principles of brushwork. Liu replied, "The brush depends on the heart; if the heart is upright, the brush will be upright." Emperor Muzong was moved by this and realized that Liu Gongquan was using the discussion of brushwork as a means of advising him.
Liu Gongquan's calligraphy was vigorous yet elegant, with unique brushwork and structure, embodying the Tang Dynasty's emphasis on "method." In terms of brushwork, Liu Gongquan placed great importance on precision and neatness, being meticulous to the finest detail. He paid special attention to the beginning and end of strokes, using both square and round endings, ensuring accuracy. Short strokes were thick and powerful, while long strokes were strong and elastic. His handling of hooks, turns, and sharp angles was effortless, with sharp and unstoppable force. Moreover, the "Liu Style" often used the central axis of the brush, executing strokes with the wrist, resulting in pure and thick lines—truly a model of "upright brushwork."