Liu Gongquan's Representative Regular Script: Mysterious Tower Stele

Liu Gongquan's representative works in regular script included the Diamond Sutra Stele, the Bell Tower Inscription, the Feng Su Stele, the Quiet Sutra, the Mysterious Secret Tower Stele, and the God's Will Army Stele.

Liu Gongquan's most famous work was the Mysterious Secret Pagoda Stele. This work was written by Liu Gongquan when he was 64 years old. It was the pinnacle of his calligraphy. The characteristic of the Mysterious Secret Pagoda Stele was that the characters were tight and strong, the strokes were strong and smooth, clean and neat, and it had its own unique appearance. It had been copied by generations and passed down for more than a thousand years. It was still a necessary inscription for studying and studying Chinese calligraphy. 'Mysterious Secret Pagoda Stele' was one of the outstanding representatives of Liu Gongquan's regular script. The strokes were mainly square. The starting and turning points were square and neat. When the strokes were finished, the strokes were clear. The strokes were center forward, strong and straight. This work showcased Liu Gongquan's outstanding achievements in the field of calligraphy and was hailed as a treasure of ancient Chinese calligraphy.

The characteristics of Liu Gongquan's regular script were vigorous, steady but not ordinary, dangerous but not strange, old but not withered, moist but not fat, harmonious and charming. His strokes were even, hard, and thin, with exposed edges and corners. They were rich in variation, avoiding monotonous repetition. Most of the horizontal paintings are square and round, with strong bones, clear starting and ending, short horizontal thick, long horizontal especially slender, delicate and beautiful. The vertical painting is powerful, tall and thin, concise and solid, sharp strokes, heavy and short strokes, and clean strokes. On the whole, it was introverted and outward expansion, the middle palace tightened, and the limbs spread out. In the rigorous, it showed a loose and open demeanor. Liu Gongquan's regular script started with Wang Xizhi, and then he extensively dabbled in the works of famous masters of the Sui and Tang Dynasties. Then he mastered them, brewed changes, and finally came up with new ideas, becoming a master.

One of Liu Gongquan's representative works in regular script was 'Mysterious Secret Pagoda Stele'.

Liu Gongquan's works include Diamond Sutra Stone Carving, Mysterious Tower Stele, Shence Army Stele, Fu Shen, Sixteen Days, Shushe Post, Mengzhao Post, Wang Xianzhi's Pear Post Postscript, etc. These works represented Liu Gongquan's regular script style. The style was rigorous and natural. Among them, the Diamond Sutra Stone Engraving, the Mysterious Secret Pagoda Stele, and the God's Will Army Stele were considered his representative works. In addition, there were also works such as the Purple Silk Invitation from the Orchid Pavilion Extension. Liu Gongquan's regular script works were unique in terms of composition, strokes, and composition. It was an excellent model for learning regular script.

The Complete Collection of Liu Gongquan's Regular Script Calligraphy included Liu Gongquan's representative work,'Liu Gongquan Stele' and other regular script works. Liu Gongquan was a great calligrapher in the late Tang Dynasty. His regular script style was vigorous and powerful. The structure was stable and the strokes were strong and powerful, giving people a sense of vigor. His regular script works were unique in terms of composition, strokes, and composition. It was an excellent model for learning regular script. By learning Liu Gongquan's regular script works, one could appreciate the charm of Liu Gongquan's regular script and improve their calligraphy skills. Apart from that, the book also included Liu Gongquan's calligraphy theories and techniques. All in all, Liu Gongquan's Regular Script Calligraphy was an important reference material for learning Liu Gongquan's Regular Script.

The characteristics of Liu Gongquan's regular script were vigorous, steady but not ordinary, dangerous but not strange, old but not withered, moist but not fat, harmonious and charming. His strokes were even, hard, and thin, with exposed edges and corners. They were rich in variation, avoiding monotonous repetition. Most of the horizontal paintings are square and round, with strong bones, clear starting and ending, short horizontal thick, long horizontal especially slender, delicate and beautiful. The vertical painting is powerful, tall and thin, concise and solid, sharp strokes, heavy and short strokes, and clean strokes. On the whole, it was introverted and outward expansion, the middle palace tightened, and the limbs spread out. In the rigorous, it showed a loose and open demeanor. Liu Gongquan's regular script was known for its strength and strength. It had three characteristics: square and round, thin and hard, and rigorous structure. The characteristic of his handwriting was the "bone rhythm", which meant that the strokes were full of strength, the bones and muscles were distinct, and there was a sense of rhythm between the strokes. His calligraphy also paid attention to the rules and regulations. He handled the relationship between words and passages just right to form a perfect overall effect. Liu Gongquan's regular script had a great influence on later calligraphers. His works were widely read, and his calligraphy ideas and methods were inherited and used by later calligraphers.

Liu Gongquan's representative works included 'Mysterious Tower Stele,''Diamond Sutra Stone Carving,''Divine War Stele,''Feng Su Stele,' and so on.

Liu Gongquan's calligraphy masterpieces included Mysterious Secret Tower Stele, Divine Strategy Army Stele, Meng Zhao Tie, Sending Pear Tie Postscript, Diamond Sutra Stone Engraving, Feng Su Stele, Jiuyi Mountain Fu, etc.

Yan Qinli Stele was one of the representative works of regular script written by Yan Zhenqing in his later years in Tang Dynasty. It was a Shinto Stele written by Yan Zhenqing for his great-grandfather Yan Qinli. It was erected in the 14th year of the Dali Dynasty (779). The stele is now in the Forest of Steles Museum in Xi'an, and there is also an initial rubbing in the Palace Museum in Beijing. There were a total of 19 lines of words in Yang and 20 lines of words in Yin, with 38 and 37 words per line respectively. This stele was featured by its fine strokes, broad strokes, and strong momentum, showing the aesthetic fashion of the prosperous Tang Dynasty. It was Yan Zhenqing's mature calligraphy work in his later years, and it was also one of the models for many beginners to learn Yan Style.