提到工筆重彩花鳥畫，就一定要走進宋元。北宋開國后，黃筌父子富貴閑逸的工筆重彩被奉為花鳥畫的楷模達百年之久。其后，崔白大膽創新、善于揚棄，一舉打破了宋初宮廷院體畫一統天下的格局，絢麗端莊的工筆重彩呈現出極為豐盛的面貌。入元，野逸的文人畫家注重書法用筆入畫，花鳥畫又多了幾分高雅的情趣和理想。
When it comes to meticulous and heavy colored flower and bird paintings, we must go into song and Yuan Dynasties. After the founding of the Northern Song Dynasty, Huang Jia and his son's fine brushwork and heavy color of leisure and wealth were regarded as the model of flower and bird painting for a hundred years. After that, Cui Bai boldly innovated and was good at developing and discarding, which broke the pattern of court style painting dominating the country in the early Song Dynasty, and the gorgeous and dignified meticulous heavy color showed a very rich appearance. In the Yuan Dynasty, the wild literati painters paid attention to calligraphy and brushwork, and flower and bird painting had a little more elegant taste and ideal.
有了這片肥沃的藝術土壤，當代工筆花鳥畫成長起來必是自信老辣的模樣。比如劉維義，聚焦宋元幾十年，筆下花鳥走獸格物致知又帶著文人氣息，愉悅爽利的畫風融入眼前生活恰當其時。
With this fertile artistic soil, Contemporary Meticulous flower and bird painting will grow up to be confident and spicy. Liu Weiyi, for example, focuses on the decades of song and Yuan Dynasties. His paintings of flowers, birds and animals are full of knowledge, and they are full of literati flavor. The pleasant and refreshing painting style is integrated into the life at the right time.
中國畫的寫實，從一開始就兼顧形、神，追求意境。“形”走向極致，“神”才能水到渠成。工筆重彩花鳥畫里，花兒的一絲嫩蕊，鳥兒的一根翎羽都表現著精密的組織結構，畫家們用毛筆小心刻畫，虔誠地尊重著大自然的生長秩序。
The realism of Chinese painting, from the very beginning, gives consideration to form and spirit, and pursues artistic conception. Only when the "shape" goes to the extreme, can "spirit" be formed naturally. In the fine brushwork heavy color flower and bird painting, a trace of the flower's tender core and a bird's feather all show the precise organizational structure. The painters carefully depict it with brush and reverently respect the growth order of nature.
劉維義崇尚宋元畫風，入畫筆觸常能看到來自宋元的種種風采。偶爾一對戲水鴛鴦精工富麗，單筆絲毛，色彩明快絢麗，形態栩栩如生?；蚴仟毩⑸搅种g的孔雀，筆墨凝練，點染精準，色澤莊嚴厚重，神情一塵不染。劉維義說，在畫畫時，他少有雜思，有時甚至心隨筆動，他相信自己扎實的基本功，只要踏踏實實地以形養神，格調自出。 Liu
Weiyi advocates the painting style of the song and Yuan Dynasties, and can often see all kinds of styles from the song and Yuan Dynasties. Once in a while, a pair of mandarin ducks playing in the water are exquisitely colorful and lifelike. Or peacocks between the independent mountains and forests, with concise ink, precise spot dyeing, solemn color, and spotless expression. Liu Weiyi said that when he drew, he seldom thought and sometimes even wrote freely. He believed in his solid basic skills, as long as he steadily cultivated his spirit with form and style.
其實，看到劉維義畫作里那些鮮艷的色澤便可知道，他喜歡沖突感強烈的創意。 “作畫其實就是創造矛盾，解決矛盾的過程。就如同文學作品，總要有起有伏才能抓住讀者的心，繪畫亦然。入畫的一草一木都可以給鳥獸的情緒增加力量，而鳥獸之間亦可以有歡樂、悲傷、驚懼或者閑適的情感交流。工筆重彩描繪的自然之景是一目了然的，是具體詳盡的，所以，恰好能講述一個短暫的有趣的故事。
In fact, when you see the bright colors in Liu Weiyi's paintings, you can see that he likes creative ideas with a strong sense of conflict. "Painting is actually a process of creating and solving contradictions. Just like literary works, there must be ups and downs in order to catch the readers' hearts, so does painting. Every plant and tree in the painting can add strength to the emotions of birds and animals, and there can also be happy, sad, frightened or leisurely emotional communication between birds and animals. The natural scenery depicted by meticulous and heavy color painting is clear at a glance, and it is specific and detailed. Therefore, it can tell a short and interesting story.
上世紀80年代初，隨著改革開放商品畫應運而生。劉維義經楊柳青畫院推薦得到了生平第一次出版作品的機會：“我和劉維良先生合作了一張花鳥作品拿給孫先生審度，先生又添了兩只白色的小鳥，特別神氣。此作讓楊柳青畫院經理看到，建議我們出版。那時經濟條件有限，家家戶戶會將一些畫作的印刷制品掛在家中作裝飾，這樣的一次出版我得到了300塊的稿費，在當時可謂‘巨款’了。”
In the early 1980s, with the reform and opening up, commercial painting came into being. Recommended by Yang Liuqing Academy of painting, Liu Weiyi was given the opportunity to publish his works for the first time in his life: "Mr. Liu Weiliang and I cooperated to present a flower and bird work to Mr. Sun for review, and Mr. Liu added two white birds with a special air. This work was seen by the manager of Yangliuqing painting academy and suggested that we publish it. At that time, the economic conditions were limited, and every family would hang some printed works of paintings at home for decoration. I got 300 yuan for one publication, which was a huge sum of money at that time.
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