Complete Collection of Calligraphy by Liu Gongquan

Author: Tang Liu Gongquan Pang Yuanguang
Publisher:
Publishing Date: 1998-05-01
Features: Liu Gongquan (778–865), styled Chengxuan, was a native of Huayuan (now Yaoxian, Shaanxi) in the capital of Jingzhao during the reign of Emperor Xianzong of Tang. He passed the imperial examination during the Yuanhe era of Emperor Xianzong and initially served as a secretary in the Secretariat Department. After Emperor Muzong ascended the throne, he was appointed as a Right Supplementary Officer and later as a Scholar-in-Attendance in the Hanlin Academy. During Emperor Wuzong's reign, he was promoted to Vice Director of the Chancellery and a Counselor to the Emperor, and was enfeoffed as Marquis of Hedong. Later, he served as Vice Grand Tutor and Vice Grand Preceptor, earning the title "Vice Grand Preceptor Liu."
Liu Gongquan was exceptionally intelligent in his youth, skilled in poetry and calligraphy, and was hailed as a "prodigy." There was a poem praising him that read: "Chengxuan at twelve excelled in poetry, Emperor Yuanhe knew his name." His calligraphy initially drew inspiration from Wang Xizhi, later studying under Ouyang Xun and Yu Shidao, and was deeply influenced by Chu Suiliang and Yan Zhenqing. He became one of the great calligraphers of late Tang, following Yan Zhenqing, and was often paired with Yan in the phrase "Yan's sinews, Liu's bones," used to praise their distinctive styles. Liu Gongquan's calligraphy, particularly his regular script, reached a level of perfection in both brushwork and structure, earning him the title "Liu Style." The "Liu Style" had a profound impact on both his time and later generations. Historical records indicate 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 follows the heart; when the heart is upright, the brush is upright." Emperor Muzong was moved by this and realized that Liu Gongquan was using the discussion of brushwork as a subtle rebuke.
Liu Gongquan's calligraphy was vigorous yet graceful, with unique techniques in both brushwork and structure, embodying the Tang dynasty's emphasis on "methodical calligraphy" to the fullest extent. In terms of brushwork, he placed great importance on precision and neatness, being meticulous to the finest detail. He paid special attention to the beginning and end of strokes, employing both square and round endings, ensuring accuracy. Short strokes were thick and powerful, while long strokes were rigid yet elastic. His handling of hooks, turns, and sharp angles was effortless, with sharp, unstoppable force. Moreover, the "Liu Style" predominantly used the central brushstroke, executing lines with wrist movements, resulting in pure, thick lines—a true of "upright brushwork."