When does Liu Kai not need to be low?

Liu Gongquan's calligraphy was mainly influenced by Yan Zhenqing, but at the same time, he also made an in-depth study of the works of calligraphers such as Wang Xizhi and his son in the Eastern Jin Dynasty and Ou Yangxun in the early Tang Dynasty. He absorbed the strengths of many schools, summed up the laws of the development and changes of regular script since Wang Xizhi, worked hard in practice and explored hard, and finally became a generation of calligraphy masters. The unique style of Liu Gongquan's regular script is first manifested in the font structure. His calligraphy structure is tight inside and loose outside, and the glyph is often tight in the middle palace and four Zhou Song. One end of the stroke gathers inward and the other end radiates outward, which makes people feel a kind of imposing manner with strict barriers. Moreover, Liu Ti's calligraphy is generally low-handed, with fine hands but healthy hands and rough hands and comfortable hands. The two are integrated, moist and silent, showing a chic and detached posture in neatness. The handling of words such as "fen" and "xiu" should be understood as "shaping with words" and strive to stabilize the center of gravity. If we blindly pursue "keeping a low profile and keeping a low profile", it will inevitably cause unstable visual effects on individual words.