Liu Yong did not pursue the shape of the ancient times, but paid attention to the method of writing. I like to use a hidden front when I start writing, and fold the front with a pen at the turning point. The appearance is plump and round, and the inner bone is strong, like iron wrapped in cotton; Use ink to see dry in embellishment and skillful in clumsiness; Dense knot, light and changeable brush strokes, elegant charm. Zhang Weiping, a writer in A Qing, pointed out in his Essays on Selected Works of Song Dynasty that Liu Yong's calligraphy is characterized by "strong shape and strong bones, strong flavor, seclusion from the imprisonment of the ancients, detachment and uniqueness", which can be described as the golden mean. Kang Youwei also spoke highly of Liu Yong's achievements in calligraphy: "The depth of thinking, the depth of thinking, the trembling of muscles, and the gathering of pulses. If the World Bank cursive script has come all the way and failed to get out of the scope of the World Security, I call it the success of the World Security Collection. "
As a masterpiece of Liu Yong's calligraphy, this work embodies the above characteristics. The content of this book is taken from one of Su Shi's two poems, "Two Paintings of autumn scenery by Li Shinan", as shown in Volume 18 of Complete Song Poetry. "Xie Song Hui Mo", see "All Song Poems" Volume 23.