As far as flower and bird painting is concerned, Liu Huaiyong generally went through three stages: learning from tradition, following nature, and following Taoism and nature. Therefore, his freehand flower-and-bird paintings possess the grand realm of scholarship, pen and ink, and charm, capturing the essence of traditional literati paintings. His paintings have the wildness of Xu Wei, but they are not empty; they have the purity of Bada, but they are not cold; they have the spiciness of Wu Changshuo, but they are not dry and wild; they have the charm of white stone, but they are not rigid. In short, the source of his pen and ink originated from Xu Wei and Fou Weng, and he picked it up from left to right, taking it all in, the kind of aesthetic pursuit of "uprightness, harmony, profundity and nature", the kind of language that comes out of the world of the masters of the past dynasties. Creation is the transcendence of "traditional thinking" by the "modern thinking" of pen and ink, the value of "boldness", and the pursuit of "soul". Liu Huaiyong is a contemporary Chinese painter who specializes in flowers and birds, landscapes, calligraphy, and seal cutting. He also attaches great importance to and actively participates in the study of art theory. Since 1995, while conducting research on the creation of Chinese paintings of flowers, birds, and landscapes, he has put painting teaching first. He has written books and developed textbooks. The main lecturer of the Chinese painting advanced training class teaches the "principles" and "methods", "techniques" and "Tao" of Chinese painting. With scientific teaching methods that pay equal attention to theory and practice, he unreservedly imparts his successful experience in creation to students. That is a broad vision, keen thinking, foreknowledge, solid basic training and rigorous academic spirit. The purpose is to grasp the spirit of the times and the nation, recognize and understand the true meaning of Chinese painting at a higher level, lay a theoretical foundation for the inheritance and development of Chinese painting, and establish the direction of practice.
He has always adhered to the creative method of "learning from nature and getting the source of the heart" and "responsing to the image of objects and describing the spirit with form", and strives to obtain the source and ability of creating images from sketching. But he believes: "Sketching from life is not just about 'collecting style', but the affinity between spirit and flesh." Therefore, he does not advocate replacing the tradition of freehand brushwork with realism, but advocates integrating the methods of ancient and modern schools and absorbing the strengths of hundreds of schools of thought. The concise and general language I refined to write about the God of Things has evolved from the "necessary kingdom" of "learning from nature" to the "freedom kingdom" of "Tao follows nature", and gradually reached the maturity of being handy, following thoughts and writing, and being natural. stage.
His freehand flowers and birds have ingenious conceptions, and the composition is like a general's layout, scattered and wild, and disorderly in field battles; the pen is like a sword and a halberd, the pen moves like a dragon and a snake, the charm is flying, and it has a strong "writing" feeling. It means that the ink movement is vigorous and random, especially the wonderful effects of various dry and wet thick and light ink techniques such as breaking ink, hitting water, accumulating stains, and splashing. Intentionally or unintentionally, in a controllable and out-of-control way, it injects skill and Creation, connotation and imagination; no embellishment, no imitation of other people's styles, no worldly kitsch, coming from true feelings, simplicity, nature, magnanimity and vitality. Looking at the entire painting, the paper is full of ink colors and vivid, showing the beauty of the brush lines, the beauty of the ink rhyme, the beauty of masculinity, and the beauty of nature. Reaching such a state is difficult to achieve without profound traditional accumulation, rich life accumulation, strict modeling training, proficient pen and ink skills, extensive cultural accomplishment, profound artistic attainments, and the ingenuity to draw parallels from analogy. of.