Liu Yong’s Running Script Poetry Axis

[Liu Yong’s running script poetry axis]

The running script poetry axis, Qing Dynasty, Liu Yong’s book, paper book, running script, vertical 102 cm, horizontal 58.5 cm
Explanation:
The wild water falls and swells unevenly, and the frost roots are poured out from the forest. Where does the boat go? My home is in Huangye Village, Jiangnan. Old pine burns out and knots light flowers. The magic method comes from the North Li Family. What is the cool green light like? There are jackdaws on the east of the wall. Liu Yong
Liu Yong did not pursue the appearance resemblance but paid attention to the method of using the pen. He likes to use the hidden front at the beginning, and use the Yan pen at the turning point to make the folded front. The shape is plump and round, and the inner bone is strong, just like iron wrapped in cotton; Use ink to see dry in moist, and see skillful in clumsy; The knot is dense and elegant, the strokes are light and flexible, and the charm is elegant. Zhang Weiping of the Qing Dynasty pointed out Liu Yong’s calligraphic characteristics in “Songxuan Essays”: “The appearance is strong, the taste is thick, the spirit is hidden, not being caged by the ancients, and is detached”, which can be said to be moderate. Kang Youwei also spoke highly of Liu Yong’s calligraphy achievements: “The strength is thick and the strength is deep, and the veins are shaking. In recent times, the cursive calligraphy has been thick and thick, and no one can go beyond the scope of the stone temple. Therefore, I call it the achievement of the stone temple collection calligraphy.”
As the representative work of Liu Yong’s calligraphy, this work reflects the above characteristics. The content of the book is taken from one of Su Shi’s two poems, “Two Autumn Scenes Painted by Li Shinan”, see Volume 18 of “All Song Poems”; “Thank Song Hanjie for Li Chengyan’s ink”, see Volume 23 of the Complete Song Poetry.