What are the characteristics of official script in Liu Bingsen?

First of all, Mr. Liu pays attention to uniformity in the use of pens. It is difficult to see flying lines in Liu Bingsen's official script. He seems to be trying to avoid this kind of brushwork, but he has a deep preference for the moist and smooth lines (reminiscent of "cabinet style"). In the distribution of pen power, Mr. Liu also handled it very well: horizontal painting is always thick and vertical painting is always thin. Although this kind of brushwork looks very laborious, it does not show its due strength. The reason is mainly due to improper use of brushing and gathering. Expand to flatten the lines. Although this line shows a certain width, it loses its proper thickness and lacks three-dimensional sense, giving people the feeling of thin and flat things such as silk or cloth, and giving people the feeling that the pen always floats on the paper and cannot enter the paper. Nature is lack of strength. On the other hand, the lines written by Ju Hao show a certain three-dimensional sense, giving people a surprise aesthetic effect, penetrating the back of the paper. Ancient coin characters have this aesthetic taste. Supposedly, there is no difference between the two strokes, the key is how to use them. Teacher Liu uses Juhao in vertical painting and spreads it in horizontal painting, which is thick and thin, which aggravates the flat feeling of fonts and greatly weakens the sense of volume and appeal of books.

On the Chinese knot, Liu Bingsen's official script is full. Whether it's a multi-stroke word or a few-stroke word, Mr. Liu handles every word with four corners filled with color. For words with many strokes, it is easier to do so. For words with few strokes, the strokes should be bold, so that the size is even. For example, the ancients said that "big characters make the order small, and small characters make the order big", which gives people the feeling of "symbol" and lacks the atmosphere of change, vitality and liveliness.

In terms of composition, Liu Bingsen Lishu highlighted the word "human". His book, not only every word is covered with four corners, but also the four corners of the whole work are filled very firmly. Every word is straight and rigid, like a serious guard of honor! Mr. Liu almost turned a deaf ear to the ancient aesthetics of "taking white as black" and "taking virtual as reality" and adopted an exclusive attitude.

There is probably no second calligrapher in the contemporary calligraphy world who can write official script in such a standard, decent and rigorous way like Mr. Liu. Like Mr. Liu Bingsen, who has no impetuous spirit and inherits the traditional spirit deeply, almost all calligraphers need to study hard. But for Mr. Liu himself, he lacks a spirit of change. Sun said that there are three stages: righteousness, danger and righteousness. Although Liu Bingsen wrote official script, this kind of goodness still belongs to the first stage of justice. Perhaps it is because his official script has gained more recognition, and he is still intoxicated in the realm of "writing well". Although the official script is almost "vulgar", there are also many people who write lofty and quaint. We must make it clear that Liu Bingsen's official script is more recognized by secular society, or just completed the task of writing (or writing) perfectly. It is hard to say that his official script has reached the height of calligraphy art, so it is no wonder that some people say that Mr. Liu's official script is "official script".