1. Van Duantin. (2007). Fusion and transformation of form and meaning: An interpretation of Liu Yonggang’s “Sculptural Art of Chinese Characters.” Vostochnoe iskusstvo, (11), 132–136. DOI: CNKI:SUN:DFYS.0.2007-11-056. = 王端廷.形意的契合与裂变--刘永刚“字雕艺术”解读. 东方艺术, 2007, (11):132-136. [In Chinese]

2. A brief summary of Chinese and foreign critics’ opinions on Standing Characters. (2010). Kitajskij aukcion, (4), 62–68. DOI: CNKI:SUN:ZGPA.0.2010-04-027. = 中外艺评家评“站立的文字”摘要. 中国拍卖, 2010, (04):62-68. [In Chinese]

3. Liu Xiaochun. (2011). The standing characters: My perception of Liu Yonggang’s sculpture. Issledovanie izobrazitel'nogo iskusstva, (2), 22–24. DOI:https://doi.org/10.13318/j.cnki.msyj.2011.02.027. = 刘骁纯.文字站立之后-我看永刚雕塑. 美术研究, 2011, (02):22-24. [In Chinese]

4. Liu Yonggang. (2008). Standing: An exhibition of Liu Yonggang’s sculptural works. Zhunbaochzhaj, (6), 336–337. DOI:https://doi.org/10.14131/j.cnki.rbzqk.2008.06.031. = 刘永刚.站立 - 刘永刚雕塑作品展. 荣宝斋, 2008, (06):336-337. [In Chinese]

5. Ma Xiaozhu. (2022). On the evolution and development of Chinese character form. Kul'tura kitajskih ieroglifov, (11), 1–3. DOI:https://doi.org/10.14014/j.cnki.cn11-2597/g2.2022.11.007. = 马晓锐. 汉字形体的演变与发展探究. 汉字文化, 2022, (11):1-3. [In Chinese]

6. Mei Yuanchun. (2022). Chinese and foreign literature and art experts on Liu Yonggang and his art (Excerpts). Skul'ptura, (4), 43–49+42. DOI: CNKI:SUN:DSUZ.0.2022-04-009. = 梅元春. 中外文艺专家论刘永刚及其艺术(摘选). 雕塑, 2022, (04):43-49+42. [In Chinese]

7. Sun Zhenhua. (2012). Toward peace and in search of China: On Liu Yonggang’s sculpture series Embraces of Love. Vostochnoe iskusstvo, (17), 108–111. DOI: CNKI:SUN:DFYS.0.2012-17-055. = 孙振华. 走向世界和寻找中国 - 关于刘永刚的《爱拥》系列雕塑. 东方艺术, 2012, (17):108-111. [In Chinese]

8. Tao Yongbai. (2007). A heroic poem: Reflections on Liu Yonggang’s art. Nabljudenie za izobrazitel'nym iskusstvom, (7), 60–63. DOI: CNKI:SUN:MSGC.0.2007-07-032. = 陶咏白. 壮歌行 - 观刘永刚艺术感言. 美术观察, 2007, (07):60-63. [In Chinese]

9. Fan Dian. (2010). On connection with the world and with oneself — Liu Yonggang’s sculptures. Kitajskij aukcion, (4), 59–61. DOI: CNKI:SUN:ZGPA.0.2010-04-026. = 范迪安. 与世界有关更与自己有关-刘永刚雕塑. 中国拍卖, 2010, (04):59-61. [In Chinese]

10. Xu Zhongkai. (2019). A brief analysis of the evolution and development patterns of Chinese characters. Zhurnal Ljaoninskogo universiteta radio i televidenija, (4), 83–86. DOI: CNKI:SUN:LNGB.0.2019-04-025. = 徐忠凯. 汉字演变及发展规律简析. 辽宁广播电视大学学报, 2019, (04):83-86. [In Chinese]

11. Shao Dazhen. (2007). In the depths of textual sculptures: After reading Liu Yonggang’s works. Issledovanie izobrazitel'nogo iskusstva, (3), 116. DOI: CNKI:SUN:MUSE.0.2007-03-034. = 邵大箴. 在文字雕塑的深处 - 刘永刚作品读后. 美术研究, 2007, (03):116. [In Chinese]

12. Shao Dazhen. (2017). Line as concept: Liu Yonggang as a renowned contemporary artist. Kollekcii, (2), 193. DOI: CNKI:SUN:SOUC.0.2017-02-046. = 邵大箴. 线相主义刘永刚著名当代艺术家. 收藏, 2017, (02):193. [In Chinese]

13. Yang Xiaoping. (2017). Reflections on the use of calligraphic lines in public sculpture spaces. Krasota i vremja (gorodskaja versija), (2), 60–61. DOI: CNKI:SUN:MEIC.0.2017-02-030. = 杨晓萍. 书法艺术线条运用立体雕塑公共空间的思考. 美与时代(城市版), 2017, (02):60-61. [In Chinese]

14. Yang Yan. (2010). A study on the origin and aesthetic value of the calligraphic style Lishu [Master’s Thesis]. Qufu: Qufu University, 58 p. URL: https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2010&filename=2010137377.nh = 杨艳. 隶书的产生及其审美价值研究(硕士学位论文, 曲阜师范大学). 2010. 58. [In Chinese]