What are the characteristics and works of Liu Yong's calligraphy?

Liu Yong's calligraphy began with Zhao Meng and Dong Qichang. In his early years, he wrote "Pearl Round and Jade Run" and "Flower Beauty". Even so, it is quite different from those who studied Zhao and Dong at that time. After middle age, I went in and out of various houses, but I didn't want to look the same, but my mind was in line with the spirit of the ancients. I changed the spirit of Zhao and Dong into simplicity, combining the grandeur of Yan characters, the romance of Su characters, and the escape of "harmony and harmony", and finally became my own face. Liu Yong's calligraphy, with rich stippling, plain and soothing pen, graceful and gorgeous Mo Yun, shows the unique elegance and temple bearing of a court official. At first glance, his book is clumsy and heavy, which cannot be measured; However, after repeated pondering, I feel that the muscles and veins are distinct, such as cotton-covered iron, which contains rigidity and can lift weights easily without traces. Comment on Xu Qi's "Customs Clearance Notes": "People who talk about calligraphy in the world need to say that there is more meat than bones. I don't know how beautiful his book is, but it is full of essence and restrained power. Almost like Tai Chi, it is all-encompassing, and people can't know its deep ears! " Therefore, Kang Youwei praised Liu Yong as a master of later learning in this dynasty. Masterpieces handed down from generation to generation include Su Shi's Ode to Autumn Yang, Su Shi's Yuanjing Building, poems near Mi Fei, Sang Lin's Chopping Drum Axe and Wine Like River.