For calligraphy, Qi Gong once told the painter Liu Zonghan that his characters did not have "cores". In this regard, Liu Zonghan's understanding is that this "clarifies the relationship between knots and qi, which cannot but be said to be a major contribution to the study of Chinese calligraphy." "Qi Gong" first imitated Zhao Dong and then Ouyang, and late ai cheng hung in the body", which was customarily "the pen of the second king, the knot body of Ou Liu", and finally became its own "Qi body", which the book circles commented on as "soft on the outside and rigid on the inside, natural and free, clean and elegant and feminine and gorgeous". There are many fewer paintings of Qi Gong on the market than words, but they are also tasteful. Zhao Renjue, who made oral histories for Qi Gong, once said that Qi Gong's paintings also saw the traditional skills, outlining the dye, not a single stroke did not see the power, ethereal and elegant, quite beautiful and transcendent beauty. Landscape painting is rich in layers, high in artistic conception, and bamboo and stone paintings have a mellow charm and are flexible and graceful, and have the same aesthetic style as their calligraphy.
The Palindrome Sutra written by Mr. Qi Gong
Mr. Qi Gong's book Wei Bin Youyou
Mr. Qi Gong's fine calligraphy and painting are one
Mr. Qi Gong's book passed on the salary
Mr. Qi Gong's ink bamboo
Mr. Qi Gong pro post
Mr. Qi Gong Pro Su Shi Calligraphy Dharma Post
Mr. Qi Gong sealed the letter
Mr. Qi Gong pro post calligraphy
Mr. Qi Gong came to the Emperor Fa Ti of the Past Dynasties
Mr. Qi Gong Linyan Zhenqing calligraphy
Ink grapes painted by Mr. Qi Gong
Mr. Qi Gong big character list book goose flock
Mr. Qi Gong calligraphy couplet