Liu Xiangyun can write in all four styles, especially Li Shu and cursive script. The seal script is based on Yang Yisun, the running script is from the "two kings", the cursive script follows Zhang Xu and Huai Su, and the regular script is based on the tablet of Zhang Menglong. Take the flesh and blood of "Yiying Monument" to stop evenly, the generosity and elegance of "Feng Longshan", and the change of "Ritual Monument" as a dragon, with its own style. After that, he devoted himself to studying the simple books of the Han Dynasty and wrote solemn and mellow styles, which was recognized by the book circle. His works have been exhibited in West Germany, Finland, Singapore, Japan, Canada, France, South Korea, Hong Kong, Taiwan Province and other countries and regions for many times, and he has participated in the second, third, fourth, fifth, sixth, seventh and eighth national calligraphy seal cutting exhibitions, the works exhibition of Japanese and Chinese representative calligraphers, the Sino-Singapore calligraphy exchange exhibition, the World Peace Year book exhibition, the Sino-Japanese calligraphy exchange exhibition, and the exhibition of 1 famous Japanese calligraphers. His works have been collected in more than 1 collections, such as China New Literature and Art Department, Selected Modern Calligraphy, Selected Ancient and Modern Calligraphy, and Japanese Linshu Department. There are many collections and stone carvings in domestic museums and forest of steles. There are special articles on Calligraphy, Chinese Calligraphy and Japanese Calligraphy Art..
Liu Xiangyun has visited the United States, Japan, France, Sweden and other countries for many times and held exhibitions. He gave lectures at the invitation of Singapore Book Association for many times. At the invitation of the Chinese University of Hong Kong and Jiazi Calligraphy Society, he held personal calligraphy exhibitions and lectures.
Liu Xiangyun's achievements in calligraphy have attracted worldwide attention. His calligraphy was born out of Wei Bei in the early days, and his brushwork was open and agile. In the later period, it is self-contained, diluting the wilderness, gentle and clear, and full of extraordinary tranquility. This is gorgeous and extremely plain, quiet, vigorous, quiet, mature and simple.
Liu Xiangyun's calligraphy is like a diamond in the rough, cool, dusty, elegant and full of music. He sees character in simplicity, does nothing and does everything. He puts the humility of Confucianism, the nature of Taoism and the silence of Buddhism into calligraphy, and those who love and treasure suddenly feel happy. Teach art by people, not by art. He pushed China's ancient calligraphy art to the extreme, simple and perfect, and the modern cultural celebrities took it as their greatest honor to get a picture of Xiangyun.