We can find that Li Ming is constantly going back: from Zhao Mengfu in the Yuan Dynasty to Mi Fei in the Song Dynasty, from Mi Fei in the Song Dynasty to Zhang Xu, Huai Su and Chu Suiliang in the Tang Dynasty, and then from the changeable and vigorous monument boundary in the Southern and Northern Dynasties to study the copybooks of famous people in Wei and Jin Dynasties, such as "Two Kings" (Wang Xizhi and Wang Xianzhi).
At first glance, Li Ming's calligraphy works have the charm of Wei and Jin dynasties, but he thinks more than that. His calligraphy works not only won the mystery of "Two Kings", but also won the essence of works in Tang Dynasty (such as Chu Suiliang and Huai Su), Song Dynasty (Mi Fei) and Northern Dynasty (such as Wei Bei), which can be described as the strengths of various schools. This is why Li Ming is more brilliant than many members of the "New Post School" and "New Two Kings School". Similarly, they are all studying and studying the calligraphy of the "two kings" hard, and some people are obsessed with one method and ignore others; Some people think it is the gateway to the wider world. Li Ming belongs to the latter.
It is purely a kind of advanced beauty, and Li Ming knows it well. Therefore, when he writes calligraphy, whether it is big or small, whether it is regular script or running script, he tries to use simple strokes and pure ink lines. Li Ming's works look elegant at first sight, but simple, quiet, scattered, ethereal and pure at second sight ... this is the most attractive place of his works.
Li Ming's calligraphy works are quiet, just like his personality, but behind the silence is a jumping and exciting soul. It is precisely because of the support of spiritual strength that his calligraphy works are unpretentious, and the fine works contain tension, movement and change. Li Ming's calligraphy works have reached a balance between dynamic and static, rigid and soft, tight and loose, virtual and real, simple and abundant.
Art is the best way to show the soul. Therefore, an excellent artist must show the master of the soul; Excellent works of art must be implicit and broad. Li Ming's calligraphy works are a subtle and vast world.
-Ma Xiao's "Li Ming's Implicitness and Broadness"
Most successful calligraphers don't end their lives with a post; As far as the style of books is concerned, no one is single-minded. Li Ming is good at cursive script, and regular script is in the hands of Fang Jia, which is deeply loved by people who know it. Its regular script inscription method is strong, and its epitaph is full of interest, but the early Yuan and Ming dynasties have disappeared. Kaifa is the only way for calligraphers in Wei and Jin Dynasties. Li Ming went straight into the temple, studied hard and kept learning. He acquired an excellent method. In addition, two lines of cursive script have passed and are integrated with regular script. Therefore, his calligraphy works are smart and rigorous, Gu Zhuo and elegant, lyrical and vivid, which makes his peers envy him.
-Wang Jinquan's Ordinary Zhai Calligraphy Prose
Li Ming is good at "two kings" cursive script, and his understanding and skills of "two kings" cursive script are in a leading position among contemporary young and middle-aged calligraphers. In the way of using words, he got the essence of "two kings" and could show the subtle changes of the form of "two kings" incisively and vividly; In terms of brushwork, it can be regarded as one of the few calligraphers who won the "two kings" brushwork. His mastery of the calligraphy style and charm in Wei and Jin Dynasties made many followers of the "two kings" envious.
-Wang Houxiang's "Li Ming's Well-deserved Fame"
Li Ming is good at all kinds of calligraphy, and his short books emphasize the use of pens in bone method, with lofty charm and natural composition. His works have the demeanor of Wei and Jin dynasties, and there is no shortcoming that the world can't write fine print. Li writes well in Zhao Wuxing's small letters. I have read the lowercase letters he published many years ago. The whole work is nuanced and won three flavors. Later, he devoted himself to studying the epitaphs of the Northern Dynasties for many years, and devoted himself to studying the epitaphs of Sima Jing and Tu Guhun. He traced back to the initiation of Wei and Jin Dynasties and devoted himself to studying Wang Youjun's regular script, hoping to trace back to its source and explore its rich connotation. Look at his regular script, with the posture of the right army (), with the charm of Zhao, neat and neat, every time I see its ingenuity, it is different from the people who write dry books nowadays!