Liu Yong is not only an honest official, but also a famous calligrapher and poet.
Learning calligraphy is Liu Yong's lifelong hobby. He enjoys it and enjoys it deeply. He wrote in (two books):
Xiao Yueyun's window is warm, and Xiao Zhai has nothing to do.
Pro-Fu riding Yixing is for entertainment.
Try to treasure the dragon's tail and love the moustache.
I suddenly laughed at myself. I was ugly.
The vertical posture of the pen tip is still folded, and the front hides the rhyme from China.
The broken hairpin still exists, and the old tree is reborn.
John Lone is like a prancing elephant, and it is a flat worm snake.
Ziyun is too small, although it is not as good as boasting.
In the forty-seventh year of Qianlong (1782) in December, Liu Yong wrote in a poem to his cousin Ye Fu:
I've been reading for a long time, laughing at my little skills.
Many things in the east and west, people forget ugliness because of love.
I can't help being addicted to charcoal, and I am even more drunk when I meet bamboo shoots.
I can't tell you that there is a smell in it, and my body aches and forgets my elbow and gives birth to willows.
There is both modesty and a little pride.
Wang Peixun also said that Liu Yong "takes the title of the book as the world and spends a lot of money every day, thinking that this is a course". Guy is deeply interested in this, so he is not tired. Eighty-four years old, still in the right army post. Xiao Lanxie said that she forgot her hand and her pen, and her interest was beyond the town, so she wrote it down and sent it to him. It is a language that has won the three flavors of painting and calligraphy. "
This statement shows what Ji Xiaolan did in the eighth year of Jiaqing. Liu Yong posted a postscript to Wang Youjun (Wang Xizhi):
Shi 'an Guo Xiang's poems are always disorganized and scattered, so interesting that people are almost unconscious. Generally speaking, he began to draw rules, which I have seen; I also saw the long-term changes and unique ways. Now it's the point where hands and pens forget each other, and hearts and hands forget each other. I don't even know Shi 'an, let alone speak for myself. This time, the copy of the pen post is only based on copying, so don't ask him for the shape.
When Liu Yong was young, he emphasized the fragrance of Zhao Mengshun, a calligrapher in the Song Dynasty, and regarded Zhao Shu as a "saint in the book".
After middle age, he concentrated on studying the calligraphers Ouyang Xiu and Dong Qichang in Ming Dynasty, and also studied the brushwork of calligraphers Chu Suiliang in Tang Dynasty, Mi Fei and Huang Tingjian in Song Dynasty. In his later years, he liked Wang Xizhi's father and son's brushwork and the tablet style of the Northern Dynasties, and he had better stick to the rules of calligraphy, so he was able to gather the strengths of various schools without sticking to the rules and achieved great success.
Bao was a famous politician and calligraphy connoisseur during Jiaqing period. He is quite positive about Liu Yong's calligraphy achievements. He has repeatedly talked about Liu Yong's calligraphy:
"The prime minister, less phase, moved to the old slope village. After 70, he devoted himself to the tablet of the Northern Dynasties. Although his energy failed to pursue further studies, he was interested in learning beyond the hubbub. For a hundred years, calligraphy has stood on its own feet, which is not the beauty of a state. "
"Modern Xiaozhen book is headed by Zhucheng (Liuyong). This is especially true if it is written with heart. Huang Ting's posthumous work Luoshen died while trying to save his life. Po Lao (Su Dongpo) and Sion (Dong Qichang) intended to go back to the ancients, but Su's entry and exit were not manipulated, and Dong's arrangement remained unchanged. This is mainly a matter for small officials. Zhucheng, strong in thinking, followed the old slope to get a glimpse of the pavilion, and later returned to the epitaph of the Northern Wei Dynasty, making it a second family. However, his method of using a pen is to take advantage of the situation and take a posture; The rule of ink is to use rough, Takumi Inui and knot rules to make overlapping stippling, relax a corner, make white and black equal, dry and moist, make flower arrangement help the mirror, and make the shutter visible. However, if his heart is lost in words and he is tired of painting, he must blame the festival, then the rotten wood is the pillar and he cannot quit. "
"The Inscription of Fangjianting" and others also said: "Jin, Tang, Yuan and Ming dynasties are each static words, and it is not easy to know the purity of fire. Looking at the authors of "Country and Korea", only Mr. Shi 'an and Zhang You have such magical powers. After all, they didn't get a clean taste. " "In recent days, the stone temple in Lanting and Luoshen is not like this, like nothing. Lu Zhiyun: Anyone who knows Yang Fengzi in Luoyang will go to Usilan when he writes. Jianzhai (Yuan Mei) is also a calligrapher of Wei Jin people today, but Mr. Shi An (Liu Yong) is invisible, although he writes casually. "
Tsui Hark's Qing Ren and Lei Chao also commented on Liu Yong's calligraphy in this way:
"Liu Zhucheng Wen Qing calligraphy, Huang Zhonglu big voice, the instrument of the Qing dynasty, the generation of calligraphers. Gai is a family that integrates calligraphy of past dynasties. The so-called golden voice is a great achievement of gathering saints. Since I built my own feeding house, I have been on the stage, and my physique has changed repeatedly, which makes people unpredictable. When I was a teenager, I was Zhao Ti, and the beads were round and smooth, like beautiful flowers; After middle age, the pen is vigorous and the situation is magnificent; If you are in a cupboard, you will be dazzled and plain, but you will be perfect. Calligraphers in the world say that they are fleshy and bony, but they don't know the beauty of their books. They are rich in essence, restrained and powerful, almost like Tai Chi, all-encompassing, and people can't predict their deep ears. "
"Postscript of Rain Hall" also said: "When the stone temple is in orbit, it is empty, clear, time-consuming and empty. It's wonderful and different when you are embarrassed. "
In the history of calligraphy in China, Liu Yong, together with Weng Fanggang and Liang in Qing Dynasty, was called the "Four Masters" in the middle of Qing Dynasty. When discussing Liu Yong's achievements in calligraphy, the book once said: Although the ancients of calligraphy said many times that "books are expensive but thin and hard", in fact, as long as they have a strong foundation, they are all thin and hard. On the other hand, if Hypertrophy can be written pleasing to the eye, it must have great skill and good vision. Liu Yong saw this clearly, so its success lies in being fat. You can better see the slippery place of this old scoundrel, that is, he practices cleverness through smoking and ethereal through thick repair. So people are not tired of playing with his works for a long time.
Because Liu Yong has profound attainments in calligraphy, his appreciation of calligraphy is also quite good. He once said that although Zhao Mengfu tried his best to pursue the style of writing, Yang was unmoved, while Lv Guoshu was like a dead tree, full of flowers and buds. However, Zhao Meng's troubles can't be like this. If he goes straight to pure quality, he will rarely shine. If he is slightly involved in Yan Fang, he will stay away from simplicity.
Liu Yong's evaluation of calligraphers of past dynasties and his understanding of the evolution of China's calligraphy are all reflected in his poem "Learning Books into Thirty Couples", which has always been praised. This poem says:
There are many kinds of seals for insects, books and birds, and the discussion on the cost of sound throughout the ages.
Whoever goes to the top of Kunlun Mountain can tell the truth from the stars.
Boya corps commander has an ancient style and heroic spirit of clearing and destroying traps.
I tried my best to pursue the method of Qin remnant tablet, but I didn't send it away from the fire.
Books are the most impermanent, and the new sound has not changed the old ballad.
Typical people have realized that they are far away from each other and wild birds are more like rivers.
The long history is true and eternal, and it turns to nature.
To divide the competition into special blogs, a school will eventually lose everything.
The romance of literature and history has become new and will be more respected.
Yingzhou Fasi Morningstar is here, and there are mortals in the mantle.
Bomiyuan Tan lost his temper, but it's hard for China to hold a grudge.
Exploring the unique Lantingke, Lue Wang cares about the heroic spirit.
There are magnificent scenery in the waves, so there is no need for land, sea and Pan Jiang.
Thank you very much for Fu's writing style. It is difficult to write a few essays.
It is true that things are humble and arrogant, and it is waste for officials and slaves to laugh at people.
Fu Jiafa's feet are a little rough, not Qi Lin's footsteps.
The group is on the scene early, and the petals are fragrant to Qi Liang.
Autumn snakes can't tell mountains from mountains. How can they lower their heads to solve a problem?
The remains of paper are both ancient and modern, and the family history is profound through the ages.
What's the use of grabbing? There are many thieves hiding underground.
Ouyang ran all the way, and the jumping point was different.
The speed is worse than the main equipment, which I hate, but I threw away the fruit treasure.
It's hard to make a rich spirit out of the edges and corners, and the Bohai fairy has its own reasons.
Many rhinoceros elephants were caught for nothing, but fesr caught others by mistake.
The white hair is cast on the cuckoo's bald ears, and the sea is flowing, which will last forever.
Lonely and loyal, I know how many tears I shed, and I also dyed my five-color notes in Linchi.
Fame and wealth are light, and I endure teaching.
Say Xue, don't be ashamed to ask questions, try to be honest with others.
Knowing that the Lord is threatening the country, the wind vane wants to see the cloud crown.
Anyone who studies public books is all thumbs, so don't talk about things in order.
People only ask questions about heaven and current affairs, and immortals are strong in character.
It is sad that the girder was stolen from Qin Bi and the sea and air were lost.
Shangshu's calligraphy is extensive and profound, and its beauty can spread the heart of internal history.
Dishonest, hanging and matching, suddenly making a five-string sound.
Almost no exposure and pain, there is a wrist as a prisoner.
If you want a book from a pen, why not donate 100 feet of building?
The beauty of the child is light, and the ancient style washes the canal.
Let's try to teach restaurants that virtue is better than no virtue.
Drunk vegetarian books are crazy before they die, if they are snake gods, cows and ghosts.
The city advocates that there is no color, and it is pitiful to deeply wipe the green and red.
I love Yang Fengge's instrument very much, and Xitai is still following me when she comes out late.
I am willing to give up the door, and five generations are perfect.
The child is beautiful and poor, the ghost deceives him, and the waves are clear and the flowers are suitable.
Only luling has the vision to know that the base block on his chest is exposed.
Not only picking Longzu tea by hand, but also scoring litchi more diligently.
Unfortunately, the famous corporal Duan Ming and Cai Ding entered Changgong Poetry.
Yanhe just saw the official situation, and he was angry and thirsty.
How to use two words to spread the history of history, greedy comments will last a lifetime.
Jiangxi poetry is still positive, and overseas literature is stronger and more sad.
The book seems to thank the public and teach Wan Fan to change Pu Kui.
Su Huangjia's spirit is naive and does not touch dust.
The soft pen is rich in ink, and the endless shaft is fresh.
Jin Fengyue came back, holding a pen.
Chu Yu's habits are gone, and Ling Mei is seen in peaches and plums.
Serve the Tao, unite the monarch and the minister, and write the truth in vain.
Xianggong wrote a picture of King John, knowing that there were many people in the Southern Dynasties.
It began with a period of spring scenery in the south of the Yangtze River, and Wang Suncai changed in a hundred years.
In the Six Dynasties, Kerry was defeated by General Jiang, and gold powder could teach the pen god.
The total angle is deep and elegant, and the pen is crazy.
The ancients told how much they knew and made a rhyme.
In modern calligraphy, everyone thinks that Liu Yong's fonts are rich in appearance, full of backbone, sincere in meaning and far-reaching in charm. Yao, a modern book theorist, commented: "Liu Yong is expert in courage. This is deserved. "
Because Liu Yong's calligraphy is heavy in pen and thick in ink, he is known as the "Prime Minister with Thick Ink". His writing is plain and has a calm and restrained momentum; The peak is clean, the pen is decisive, and there are many people returning to the front, so the power overflows in the painting; His brushwork is full of fonts, which makes him strong and powerful, and achieves rich aesthetic taste.
Excerpted from Wen Zhiming's poem "Fu Bo Temple Axis", the postscript to Huang Tingjian's Book Classic, it can be said that it is the masterpiece of his cursive works. Bian Yunhe commented: "It is glorious that Liu Yong was able to pull up from the ground in the garden of iron and blood, mainly because he broke through the traditional abuses of these two kinds of iron and blood. First of all, Liu Yong's calligraphy is truncated, with independent characters and steady strokes. For those who are used to the traditional style of continuous wrestling, they really need to treat others with special respect. Secondly, Liu Yong has a profound foundation, and his calligraphy skills are all contained in rich brushstrokes, which are expressive and stronger than bone. Compared with the rigidity and softness of traditional calligraphy, it gives people more room for thinking and maneuver. " The rough brushwork is similar to Su Shi's calligraphy, with independent structure, steady brushwork, solemnity but not seriousness. On the contrary, Liu Yong turned magic into dullness, and his rich expression skills were displayed in a popular form, which made people easier to accept and produced a sense of intimacy with a smile. "