Tang Liu Liguan's calligraphy of the Diamond Sutra

Author: Editorial Group of "Selected Calligraphic Works from Ancient Inscriptions"
Publisher:
Publishing Date: November 1, 1994
Features: "The Diamond Sutra Inscription" was carved in the fourth year of the Changqing era of the Tang Dynasty (AD 824) by Liu Gongquan. The original stone was destroyed early in the Song Dynasty. Today, a unique Tang-era rubbing from the Dunhuang Grottoes in Gansu has been passed down, intact in every character. It consists of twelve stones, with eleven characters per line. Regrettably, it has fallen into overseas hands and is now housed in the Louvre in Paris.
Liu Gongquan was born in Huayuan (now Yaoyuan, Shaanxi) during the 13th year of the Dali era of the Tang Emperor Daizong (AD 778) and passed away in the sixth year of the Xiantong era of Emperor Yizong (AD 865, aged 88). He held the position of Grand Preceptor of the Heir Apparent and was hence known as "Liu Shaoshixiang" (Liu the Young Master). Initially, he studied Wang Xizhi and later refined his technique by mastering the calligraphy styles of Ouyang Xun and Yan Zhenqing. Eventually, he developed his own distinctive style. His regular script is characterized by a strong yet graceful form, with robust bone structure and forceful lines. Compared to Yan's style, Liu's characters are slightly leaner, earning him the reputation of "Yan's sinews and Liu's bones."
Emperor Muzong once asked Liu Gongquan about his calligraphic techniques, to which Liu replied, "The brush must follow the heart; if the heart is upright, the brush will be upright." The emperor was visibly moved by this advice, as if it were a direct critique of his own actions. In the Mochi Biann by Zhu Changwen of the Song Dynasty, it is said: "Liu Gongquan's regular script and running script are both masterpieces, though he was not as skilled in cursive script. His style derives from Yan but adds strength and richness, establishing his own unique school."
Liu initially learned from Wang Xizhi's techniques, later studying the calligraphy of modern masters and striving to innovate beyond Wang's methods. He drew inspiration from Yan Zhenqing while incorporating his own creativity, avoiding the thick horizontal and thin vertical strokes of other styles. Instead, he adopted a balanced, lean, and robust aesthetic, emulating the decisive power of Wei Dynasty inscriptions. His brushwork is crisp, elegant, and full of force, with tightly structured forms. Many later calligraphers have used Liu's style as a model.
For this photolithographic publication of "The Diamond Sutra Inscription," we have used the earliest and best-known Dunhuang rubbing mentioned above, which has been re-mounted and published in a sixteen-page format while preserving the original size of the characters. We believe that this publication will contribute to a deeper understanding of "Liu's calligraphy" and the popularization and advancement of calligraphic art.