In the Ming Dynasty, there was a big collector, he not only had a rich collection of books, but also dabbled in ancient classics, in addition, he was also a famous calligraphy theorist, and he was able to write a delicate xiaokai, and even some people said that he wrote better than Wen Zhengming's xiaokai, in Zhang Xu's "Four Ancient Poems", there is also his inscription.
He was the great collector Fengfang, who summed up the secrets of the calligraphy and brushwork of the ancients in 16 words:
"Double hook hanging wrist, let the left side right, virtual palm real finger, meaning front pen after."
Liu Gongquan's book "Lu Shiheng Performs Lianzhu"
These short 16 words, seemingly simple, but it is extremely difficult to apply, in Zhang Yanyuan's "Essential Records of the Book of Laws", there are only a few people who can get the true transmission of this kind of brushwork, and one of the most important figures, he can even serve as a bridge between the Tang Dynasty and the Song Dynasty, without his existence, the penmanship may be cut off.
Emperor Wenzong of the Tang Dynasty was particularly fond of his calligraphy and said that his calligraphy could not surpass the regeneration of Zhong Xuan and Wang Xizhi.
He is Liu Gongquan, one of the "Four Great Masters of Calligraphy" in the history of Chinese calligraphy.
The great talent Su Dongpo once said:
"Since the Yan and Liu clans, the penmanship has declined, and the late Tang Dynasty has been mourned, the characters have withered, and the literary style has been swept away."
Meaning that since the death of Yan Zhenqing Liu Gongquan, the penmanship has declined, it can be seen that Liu Gongquan can be said to be the last inheritor of the penmanship genealogy, his calligraphy is to inherit the mantle of Zhong Xuan and Wang Xizhi, in Ouyang Qing and Yan Zhenqing's posture to take the law, and finally formed his own smooth and beautiful, bone strength and vigorous style. Therefore, in the calligraphy world, there is a saying of "Yan Jian Liu Bone"!
Emperor Xuanzong of the Tang Dynasty was very fond of Liu Gongquan's calligraphy, and Liu Gongquan also used to advise with the saying of "heart is correct and correct", as a generation of direct subjects, Liu Gongquan has served in six dynasties, and the weight of official voice is beyond the reach of the world!
Liu Gongquan is one of the "four major calligraphy", with Ouyang Qing, Yan Zhenqing, Zhao Ziang, from the perspective of the influence of the past, Yan Zhenqing and Liu Gongquan's calligraphy has the greatest influence, followed by Ouyang Quan and Zhao Ziang, Liu Gongquan's calligraphy is very in line with the aesthetic characteristics of the Chinese, strong bone strength, exquisite dot painting, this unique aesthetic realm, has influenced the future generations for nearly a thousand years.
Regarding Liu Gongquan's calligraphy, the great calligrapher Dong Qichang's evaluation is the most appropriate:
Liu Cheng hung the book, tried his best to change the right military law, and did not want to be similar to the "Zen Thesis". The so-called magic turns into stinky rot, so it leaves the ear. Mortals study books and flatter by posture, and few can solve this. Yu Yu, Chu, Yan, and Ou were all like eleven, self-taught Liu Chenghang, and Fang Wu used a pen to fade.
The "Zen Thesis" here refers to Wang Xizhi's "Orchid Pavilion Preface", Dong Qichang realized the magic of brushwork from Liu Gongquan's works, and only then did he go after Wang Xizhi, which is also an excellent path for posterity to go from Tang Kai to Jin!
But it is easy to learn Liu Gongquan to write customs, and this kind of tackiness is influenced by the aesthetic paradigm of contemporary people, and it is very easy to write it as "art character". The key is whether you can learn its inner charm, Mi Fu said:
Liu Gongquan is like a deep mountain Daoist, his cultivation has been completed, his spirit is pure, and he has no earthliness.
Liu Gongquan's calligraphy is like a Taoist monk living in the mountains, as if he were a god, and his calligraphy is not a bit earthy. But many people have written him vulgarly.
Liu Gongquan's best work in his life is not the "Xuanmi Pagoda Stele", nor the "Divine Strategy Military Monument", but the "Kaishu Renju Lianzhu" six months before the writing of the "Xuanmi Pagoda Stele", which is exquisite in characters, and it is a masterpiece that is not born in the "Liu Ti" script!
Yu Shinan and Yan Zhenqing have both written Lu Ji's "Yan LianZhu", and the unique Liu Gongquan's work, which has no earthly atmosphere and exquisite characters, can be described as the supreme model in the book.
Unfortunately, Liu Gongquan's original "Yan Lian Zhu" was now stored in a museum in Japan.
Now, through many efforts, we have scanned the original "Yan Lian Zhu" hidden in Japan in ultra-high definition, and restored the work that is no different from the original work according to 1:1.
To purchase Liu Gongquan's book "Acting lianzhu", please click below to buy:
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Liu Gongquan "Lu Shiheng Plays Lianzhu" ¥36 purchase