Who is Liu Yong?

Liu Yong, born in 17 19, died in 1804, Zhucheng, Shandong. Calligrapher of Qing Dynasty. The word Confucianism worship is called Taoist Shi 'an, Qingyuan, Xiang Yan and Japanese Guanfeng. Tong Xunzi. Qianlong Jinshi, official body Renge University, Jiataizi Taibao, Shi Wenqing. Calligraphy is vigorous and powerful, which won the favor of Zhong Taifu and Yan, and became famous all over the world for a while. During the Qianlong period, Weng Fanggang, Liang, Liu Yong were also called calligraphy masters. At that time, people called Weng, Liang, Wang and Wei Liu "four great masters". His artistic achievements in calligraphy are the highest among Liu Yongzhong. It is also called "Weng Liucheng's Post" with Weng Fanggang, Prince Cheng Yongxun and Tie Bao. Bao's "Art Boat and Twin Towers" said: "Learn less incense, move to the slope, and concentrate on the monument of the Northern Dynasties after 70 years. Although his energy has declined and he has not been able to continue his studies, he is very interested in learning and is beyond the hustle and bustle. " Kang Youwei, a close friend, said in "Talk about Guang Yi and Zhou Shuang" that "Shi An is also Dong (its prosperity), but he is thick and thoughtful, and his muscles tremble, and he has been moving all the way recently. Those who can't go out of the scope of world security are called world security collection and post learning. There are many books circulating. He is the author of Shi An, a collection of poems, engraved with Ai Qing Tang Tie. Xiao Shu was written in the first year of Jiaqing (1796). Paper and ink. 24 lines per line, ***360 words. Each page is 1 1.8cm vertically and 6.9cm horizontally. It's in the Palace Museum. Liu Yong's calligraphy, at first glance, is round and smooth, but if it is wrapped in cotton and carefully examined, the bones and muscles are distinct and contain rigidity. Liu Yong is good at small letters, and his characteristics can be seen from this work. The flying head fine print in his book has the grandeur of breaking big characters, the structure is not tight at all, and the stippling is clean and exquisite. In particular, the interweaving of weight and fineness, coupled with the occasional cursive brushwork, makes the whole work full of lively interest in large-scale effects, which is very commendable. It is no exaggeration to say that people in later generations admired his lower case not only because of the statutes of Zhong You, Wang Xizhi, Yan Zhenqing and Su Shi, but also because of the lower case style in Wei and Jin Dynasties.