Liu Guangxia’s calligraphy is very good at using ink. Whether it is running script, cursive script or official script, there are often water stains overflowing the ink balls, and he strives to inherit the effect of the "increasing ink method" of his ancestors. However, many long poems and postscripts appear to be clear and solemn, with soft lines but firmness, which greatly reduces the anger. He adheres to the idea that calligraphy and painting have the same origin and complement each other, and emphasizes that art is the same, and that calligraphy and painting also have the same origin and consistent principles. Those who insist on being good at calligraphy advocated by their predecessors must be good at painting, and use the ink method of painting to become proficient in calligraphy. Therefore, he studied Xing, Cao, Li and Zhuan every day, and became a veritable calligrapher. Looking at his calligraphy works, there is a kind of rough, thick and vigorous artistic effect unique to Changfeng Yanghao, a kind of masculine beauty with open momentum, a kind of dark, round and concise, beautiful and profound, long strokes and long strokes. The feeling of profound meaning and charm is also a kind of naturalness, returning to nature, peace and simplicity, and the beauty of the landscape is desolate and elegant. His paintings always pursue the integration of poetry into painting, and pay attention to the mutual combination of poetry and painting. He believes that calligraphers and painters cannot be without the cultivation of poetry, and poetry is the soul of painting. Only when a painter paints with a poetic heart can he construct the realm of painting. Almost all of his works are named after verses or entire verses. When you step into his painting world and wander among the flowers and moonlight in his paintings, you will find that his paintings turn out to be a world of infinite heaven and earth and endless thoughts. Here "artistic conception", "three distances", "mind's vision" and "scattered point
perspective" are used vividly, and the pen and ink permeate the author's view of life and life in sensitive changes. A lot of insights, a lot of understanding and a lot of reflection. Observing and analyzing these works of his carefully, it is not difficult to see that in order to create a more unique and profound artistic conception, he usually adopted many new artistic methods and means. Such as deformation techniques, in order to make objects and pictures transcend the ordinary and produce extraordinary artistic charm, he often breaks the pattern of his predecessors and makes changes in flower shapes, bird shapes, tree shapes, mountain shapes, stone shapes, etc., and through their interaction with each other. Echo, back, intersperse, and combine to form your own unique new environment. "Childhood" and "The Road" are among the masterpieces. The use of both clear and turbid brushwork here makes the ink, color, objects, and scenes appear clear and ambiguous. Even though the ink color produces rich and wonderful changes, concreteness and abstraction interoperate, transform and grow in the works. Another example is the contrasting technique, which often makes people feel a kind of big ups and downs, big ups and downs and big changes. Among them are the contrast between color and ink, including ink white, dry and wet, shade, cold and warm, light and dark, intensity, the contrast between various colors and the same color, as well as the point line surface, size, length, vertical and horizontal, density, Comparison of different forms such as virtual and real. Through contrast and unity, the images in the picture are strong but not flat, vivid but not rigid, and rich but not single. He boldly borrowed the profound and far-reaching methods of the ancients in traditional landscape painting techniques, and integrated them into the creation of flower-and-bird paintings. He used them organically, thus creating new patterns and new patterns. Creativity, new artistic conception, complete a new achievement.