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刘洪镇的书法形意兼顾,韵律飞动,执一家而达百家,师常法亦思变法,足具才胆识力,于毫端会通万象,融趣神思,可谓绘事后素,别开自家生面。明代王履在《华山图序》中说:“画虽状形主乎意,意不足谓之非形可也。虽然,意在形,舍形何所求意?故得其形者,意溢乎形。”这是在谈画的形意关系,于书法亦然。意为形之魂,为形注入灵魂与精神;形也为意之体,为意树立根基和面貌。古代大家强调形外之意,是因为他们已站在书技的泰山之巅,强调不要拘泥于形体,而要追求更高层级精神的冥合。意在骊黄牝牡之外求,也在阳舒阴骖的笔法中得,中国书法传统就是两者的统一
Liu Hongzheng’s calligraphy takes into account both the prosody and the rhythm and moves one family up to one hundred. The teacher’s normal method also takes the lead in thinking. Open their own noodles. Wang Lu in the Ming Dynasty said in his Huashan Picture Preface that “although” painting “is mainly based on the meaning of the shape, the meaning of” Meaning overflow shape. “This is the intention of the relationship between the painting, the calligraphy is also true. Meaning is the soul of the shape, shape into the soul and spirit; shape is also the body of meaning, to establish the foundation and appearance. In ancient times, people emphasized the idea of ”extraterrestrial" because they had stood on the summit of Mount Tai in book-writing techniques, stressing that they should not stick to the form but pursue the unity of the spirit at a higher level. Intended to seek outside Li Huang Kui Mu, but also in the yin Shu yin yan strokes in the calligraphy, the Chinese calligraphy tradition is the unity of the two