Research of the Liu Gongquan calligraphy art

• Main Authors: Chen, Ming Yi, 陳明義
• Other Authors: Lin, Li E
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/82457026444777318595

碩士 === 國立政治大學 === 國文教學碩士學位班 === 97 === The present paper is for the purpose of discussing Liu Gongquan's book skill work and the book study the influence. Chinese calligraphy for several thousand years have been in the transformation, facing calligraphy art in fast changing ideological trend, in calligraphy history, Liu Gongquan's calligraphy achievement to later generation influence to depth and great. The present paper minute makes seven chapters: The first chapter, the narration present paper's research motive, the range of study and the method, and elaborate of research results and the willow tree book work the predecessor greatly slightly. The second chapter < biography and time background the Liu Gongquan >, mainly by the historical methodology inquired into that Liu Gongquan's biography survey, and from “judges people and the times” the viewpoint, understood that Liu Gongquan's book study background and the willow tree book forms the reason. The third chapter < origin of the Liu Gongquan calligraphy >, willow tree book origin from five aspects: First, is stems from the clock zhou, Liu Gongquan must it contain, the nature; Second, is stems from two kings gentle, Liu Gongquan its, plain, the fresh and elegant rhyme; Third, is at the beginning of Tang four, Ouyang Xun, Yu Shina, Zhu Suiliang, land Cambodia et al., Liu Gongquan its clear vigor, contains the thick elegance; Fourth, is stems from Yan Zhenqing broad-mindedly, Liu Gongquan its, the tall and straight gas; Fifth, is stems from Six Dynasties tablet version and other, is likely north in the tablet powerful high and precipitous, unhesitating uprightness, Liu Gongquan its clear vigor, steep nature. Liu Gongquan spreads reads meantime the writing technique, collection ancient Italy to create the fresh idea, just like forms so-called “the liu's style”. The fourth chapter < calligraphy and characteristic the Liu Gongquan >, Du Fu has the poem cloud: “book expensive slender but vigorous Fang Tongshen.” Liu Shu the thin vigor is tall and straight, ties the body law to be stern, writing technique flexible and so on for liu's style main characteristic. The fifth chapter < comparison of the face willow tree calligraphy >, Liu Gongquan is after Yan Zhenqing, Tang Dynasty most important book. From Zhang Xu to Yan Zhenqing, Yan Zhenqing to Liu Gongquan, Liu Shu the characteristic is destroys the old and establishes the new, develops the new ball game. After Su Shi "Topic Tang Six Letters", cloud: “Liu Shaoshi the books stem from the face, but can from leaves the fresh idea. A character hundred gold, non-empty language.” Yan Liushi the line between two points is rich in the stereoscopic effect, the rhythm, pushes to another boundary the Tang kaishu skill. The sixth chapter < Liu Gongquan's in calligraphy history appraisal and influence >, the liu's style characteristic lies in the blending together predecessor characteristic to exit changes newly, speaking of the study calligraphy, is easy its shape, but its god, studies the book often only to be able with difficulty to hold the palace close, all around sends forth the knot body characteristic, and the thin vigor's stroke characteristic performs on its Fang Ying to study; Although its appearance representation, however is not actually easy to its charm to understand the development. Therefore Liu Shu is not easy to study, also to misunderstand naturally on the easy manner criticizes. The seventh chapter < conclusion >, in front of the synthesis principle elaborates the research results analyze Liu Gongquan in the calligraphy art the achievement.