"Bone" is used to describe Liu's clear strokes, rigorous skeleton and upright character.
The regular script written by Yan Zhenqing and Liu Gongquan was called "Yan Ti" and "Liu Ti" in history, and later it was called "Yan Gu", which came from Fan Zhongyan's "Bachelor of Sacrificing Stones" and was called "Man Qing's Pen, Yan Gu".
Extended data:
Chu Suiliang, a beginner of Yan Zhenqing's calligraphy, studied under Zhang Xu and taught brushwork. Chu studied under Shi Shinan and was wise and brave. Judging from the inheritance of the context, Yan characters have both the strength of words and the wisdom and courage of regular script. Liu Gongquan's regular script is mainly due to Ou Heyan. And change the face method to curb the indulgence of Chu law, carry forward the wind of Chu characters, be soft outside and rigid inside, be elegant and handsome, and then take the trend of northern monument and European style
The combination of face and body takes the ancient method, comes from the "eight points" and takes the momentum from the front, so it is dignified, graceful, open and even in structure. Influenced by Ou Yangxun, Liu Ti adopted the technique of "two kings" and "north monument", which was steep and fantastic. Strict structure, accurate statutes, central connection and strong tension.
The pens used for facial body are steady and powerful, mostly round, and the momentum between pens is coherent. Most horizontal paintings are light, vertical paintings are heavy, and the pen is collected in a long horizontal painting, and the pen is "dovetail-shaped". Liu Ti's twists and turns in his pen, his frustration in horizontal painting and his efforts to turn the pen into the front are all in line with Yan's style. But in terms of brushwork, he is more willful and indulgent, angular.