Liu Gongquan's Stele of the Divine Strategy Army

Author: (Tang) Liu Gongquan
Publisher:
Publish Date: 2002-09-01
Features: Liu Gongquan (778–865), styled Chengxuan, was a native of Huayuan in Jingzhao (now Yaoyuan, Shaanxi). He passed the imperial examination during the Yuanhe era of Emperor Xianzong of Tang and initially served as a schoolbook compiler 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-Advisory in the Hanlin Academy. During Emperor Wenzong's reign, he was promoted to Vice Director of the Chancellery and Counselor, enfeoffed as Marquis of Hedong, and later 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." A poem once praised him: "Chengxuan at twelve excelled in poetry, the Yuanhe emperor knew his name." His calligraphy initially drew inspiration from Wang Xizhi, later studying Ou Yangxun and Yu Shinan, 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 distinct 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 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 Liu Gongquan was using the conversation about brushwork as a means of advising him.
Liu Gongquan's calligraphy was powerful yet elegant, with unique techniques in both brushwork and structure, embodying the Tang Dynasty's emphasis on "methodical calligraphy" more than anyone else. In brushwork, he placed great importance on precision and neatness, meticulous and unyielding, paying special attention to the start and end of strokes. His brushwork combined sharp and round endings, accurate and unerringly precise. Short strokes were robust and forceful, while long strokes were stiff yet elastic. His handling of hooks, turns, and sharp angles was effortless, with sharp and unstoppable force. Moreover, the "Liu Style" predominantly used the central brushstroke, executing lines with wrist movement, resulting in thick and pure lines—truly a model of "upright brushwork."