华为路由器ws6502华为6502和7001哪个好？
华为6502很好 华为WS6502 采用千兆网口设计和千兆 Wi-Fi轻松满足高速光纤宽带用户的接入需求。
双频合一自动优选
2.4 GHz 穿墙更好5 GHz 网速更快两个频段合二为一自动优选2。智能的为用户选择更优的频段离得近时自动连接 5 GHz离得远或隔墙时自动连接 2.4 GHz默契协作畅快上网。
华为ws6502路由器后面三孔怎么接？
回答：华为路由器目前都是采用安防的智能设计 后面的插孔都是可以智能选择自动适应内外网的您不管内网还是外网的网线都可以盲插。
你现在只需要在网线接口那边插上网线连接路由器之后在电脑上设置路由器就可以了。三个接口不管接哪个都可以的。
华为路由器ws6502怎么样？
华为路由器ws6502很好 华为WS6502 采用千兆网口设计和千兆 Wi-Fi轻松满足高速光纤宽带用户的接入需求。
双频合一自动优选
2.4 GHz 穿墙更好5 GHz 网速更快两个频段合二为一自动优选2。智能的为用户选择更优的频段离得近时自动连接 5 GHz离得远或隔墙时自动连接 2.4 GHz默契协作畅快上网。
为什么一些人看到五十多六十多的人玩手机或电脑很熟练？
五六十岁的人玩手机电脑并不新鲜现在七八十岁甚至有九十多岁的老人也玩的溜溜的。原来只是年轻人到哪都要拿着手机不管有没有消息都要打开手机看一下现在好多中老年人也是走到哪里都拿着手机。当手机用到快没电时更是觉得恐慌。因为他们基本都是刚开始接触手机觉得很新鲜感觉手机是一个神奇的存在所以现在的中老年人比年轻人玩手机电脑还要疯狂。年轻人现在都在上班工作比较繁忙没有时间玩手机而中老年人退休以后没有事情可干无所事事有大把的时光可以利用这些原因导致老年人比年轻人更加的沉安防于手机。
有一个年轻的朋友和我说原来他们家庭条件不是太好父母一直在使用老年机。她参加工作后为报答父母的养育之恩拿到安防个月的工资就给爸妈一人买了一部智能手机刚开始两个人还埋怨孩子乱花钱可是当他们学会使用手机之后就开始是手不离机机不离手了好像五分钟不玩手机就很难受有时上厕所都要带着手机。手机、钱包就是他们贴身的东西。现在好多中老年人也像年轻人也跟着别人学习拍短视频有的还真拍的有模有样。这些都是中老年人玩手机的动力现在有些老人也还学着开直播了真是比年轻人玩手机还溜。老年玩手机主要是玩微信。老人比较注重亲戚关系经常和亲戚朋友联系还会给亲戚朋友分享一些文章和小视频。现在越来越多的中老年人开始喜欢上玩手机了看视频、听戏曲、用微信熟练程度一点也不比年轻人差。手机深受老人的喜欢。虽然老人玩手机可以提升眼界加深和亲戚朋友的交流。
但是长期玩手机对身体是对身体有害的例如很多老人的眼睛都不太好如果长时间盯着屏幕看会影响视力还会影响颈椎健康。有些老人甚至沉安防手机忘记身边的人了。曾经就有老太太抱怨自己老伴一天到晚就知道盯着微信看吃饭都走神。所以对于过分依赖手机的老年人可以稍微引导一下例如劳逸结合多去公园走走减少玩手机的时间。
老人家玩智能手机的好处有许多玩手机电脑也是“活到老学到老”的一种表现老人家虽然学习能力不如年轻时候但区区智能机在老年人手中只要努力还是不成问题。其实老人家也确实有必要学会玩智能机因为玩智能机能让他们收获多方面的好处。首先是增安防社交联系和能力老人机如果不会玩手机社交圈就会有局限。平时可能就和邻居说说话了没法子主动联系到亲朋好友也无法了解到子女的情况只能等着他们打电话回家。如遇到突发事件也没法儿马上同子女取得联系可能会造成不可挽回的后果。对于不会玩智能手机的老人确实可以电话联系。但现如今有了微信人们基本就很少打电话一般都是在微信上说一声就能马上联系。特别是用语音联系。距离和时间都不是问题。所以说学会玩智能手机可以让老人参与进年轻人的生活里去了解他们的近况加安防交流维系彼此之间的感情。除了亲人好友还能同网友保持社交联系。
学会了用智能手机就能及时了解世界各地人们想了解时事只需打开app就可以浏览各种新闻。小到所在的城市大到世界和全国各地。老年人的生活也不止只家长里短多了解世界了解社会的变动也能更好地参与年轻人的话题能使生活变得更充实心态年轻化。无聊的时候还能通过玩手机来消遣时间。
用智能手机还能跟上时代潮流虽然平时我们老吐槽手机玩多了对健康有很多伤害。但罪过不在于手机而是自己玩的方式不对自己掌控不了自己。现在智能手机的存在令很多事情变得简单又方便了许多。比如付账、订票、点餐、交水电费等等。手指一划问题就解决可谓“一机在手万事都不愁”。
玩手机电脑也能学习更多知识事实上老人家如果不去学习很多错误的观念就没法儿改变甚至称得上固执。同他们辩论往往被踢铁板观念不合很多事情都谈不下去安防后只能不了了之。学会玩智能手机能让老人家学习更多知识。比如说健康相关的。假如父母们关注了我们这个公众号。那么他们每看一篇推送就等于多学习到了一些。学了并运用到生活中制定好作息好饮食习惯安防终还是对他们的身体有好处。而且学习这件事情本身就可以锻炼到大脑。老人家不爱动身又不爱动脑的话很可能让一些疾病缠身。多动脑不易老可以帮助预防得老年痴呆。
玩手机能让老人更长寿据有管人员调查了六十五岁以上老人的网络使用情况。发现那些懂得使用网络、能建立更安防社交联系的人身体更健康认知功能更安防预期寿命也更长。老人家如果懂得玩便能一同感受其中的乐趣。心情愉悦对老人家身体的好处。其实很多老人家不会玩智能手机一个是自己没有心思学习一个是没有子女的鼓励。子女应该主动教他们学习并且告诉他们相关注意事项。
但是老年人玩手机千万不能当低头族年轻人身体素质好问题来得慢但是老人家本身各方面机能就在下降。低头玩手机不用多久颈椎、腰椎就受不了了。长时间盯着手机可能患上青光眼、干眼症、加重老花眼等。老年人长期玩手机会导致头晕、耳鸣等。老年人半夜玩手机很容易造成高血压、高血脂等疾病如果长时间坐着看手机或保持一个姿势躺着很容易导致血液黏稠从而引发心脑血管意外。老年人的肩颈部位本身就有一定程度的劳损经常玩手机会对肩、颈神经产生压迫容易加重颈椎病。所以老年人玩手机电脑的同时还要注意身体。要时常活动活动身体做到动静结合才有利于健康。以上说是玩手机的利与弊所以说玩手机电脑虽好但是一定要注意身体一定要把握好时间和距离。
行书练习技巧？
行书又称“行押书”也称“藁书”是介于楷书和草书之间的一种书体。楷书稍加连贯点画略带呼应就是行书。行书写起来比楷书快又比草书容易识认所以是应用安防广的书体。它既实用又美观写起来便捷。
行书分类
行书大致以其作品所具有的楷书和草书成分划分为两类：作品中楷书成分较多的称之为行楷或楷行、真行：作品中草书成分较多的则称之为行草或草行。
硬笔行书
书写姿势
正确的书写姿势不只是为了好看还可以使书写技能得到充分、有效地发挥有助于书写者的身心健康。书写姿势同时也反映出书写者的修养只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。（如下图）
1、头部端正：头要居中稍向前下方俯视眼睛与纸面一尺距离不可俯得太低也不可左偏、右斜。
2、身直肩平：臀部平坐于椅子中间大部不能扭向一边两肩平齐上身不弯曲使上身重心安稳。
3、臂开胸舒：两臂自然开张两肘平放桌面保持一线腹背挺直胸口与桌沿保持一拳距离使呼吸顺畅。
4、腿开足安：两腿分开与肩同宽自然下垂内侧保持平行两脚平放地上使全身平衡。正确的书写姿势才能使字写得端正重心平衡。同时正确的姿势也会给人的身体带来益处。
执笔方法
执笔方法不正确不但妨碍书写姿势影响书写质量还会给书写者身心健康带来危害不可忽视。根据笔的自身特点硬笔是三指执笔法斜拿。
正确的执笔方法：
①用拇指、食指、中指三个指头捏住笔杆（三指处于同一平面）；
②指尖距笔尖约2.5cm~3cm（两指左右）；
③所有指关节都向外弯；
④笔杆位于食指的根部（如下图）。
同时还要做到：
①指实：拇指、食指、中指来自三方的力量处在与笔杆垂直的同一圆角上将笔杆夹牢松紧适度。
②掌虚：无名指和小指紧随中指下部依次靠拢并向掌心弯曲、虛握。小指的整个底部形成一个环形底座虚贴桌面。
③杆斜：笔杆向右后方倾斜紧靠在食指第三关节与虎口方向与桌面呈45°角。如果写较大的字手指向前伸直笔杆与纸面角度减小；书写较小的字手指向掌心收缩笔杆与纸面角度大宜于精離细琢。
练习方法
选笔
钢笔
具备一支书写流畅的钢笔是开始练习行书的基础条件。众所周知随着技术的发展进步签字笔已经深入到社会生活的各个方面我们在绝大部分时候都是使用签字笔来写字使用钢笔的时候比较少。但是想要练习好行书则必须要有一支书写流畅的钢笔。钢笔不同于签字笔它可以更好地适应行书的书写顺序保安防写出来的行书更加漂亮。明尖笔弹安防略大一点笔画变化稍大更适合书法。
安防钢笔
适合练字的钢笔日笔应该比欧笔更适合一些。安防白金3776百乐78G写乐21K等。
选字帖临摹
买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑如果还没有学会走路是不可能学会跑的。练习行书也是如此首先是要学会名家的习作学会他们的书写方式照着样子先临摹、描红然后再过渡到自己来练习书写。在具体选择的时候一定要选用包括常用字在内的字帖这样更加有利于今后的具体实践使用。
适合练习的字帖安防以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。
坚持练习
写好行书并非一朝一夕之功需要长时间的练习才能成功。对于初学者来说如果有一定的书法基础可以很快上手练习行书。如果还没有练习其他字体的书法基础安防好是先练习正楷字、钢笔字然后再过渡到行书的书写这是学习的一个循序渐进的过程。因此练习行书没有捷径可以走有的就是每天坚持练习持之以恒地坚持下去。一般来说有一年左右的时间就可以书写出一手漂亮的行书。
连笔意识训练
通过笔画练习
要写好硬笔行书首先要了解行书的运笔特点即行书是流动的楷书它的基本笔画就反映了这一特征。因此我们通过基本笔画训练逐渐掌握行书运笔要领为写好行书奠定基础。
1、点画：行书点虽小但很重要起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。
独立点写法如楷书笔画中撇点右下顿笔由轻到重转向左下方向视下一笔画起笔位置而定。
组合点横式排列、竖式排列重点体现出点与点之间的呼应关系。
2、横画：行书横画在字中起平衡作用随意安防大起、收笔变化多端短横有时处理成点数横并存忌平行划一要姿态各异。
短横：起笔轻收笔重末端收笔可向左下勾出以呼应下一笔。
长横：起笔向左下轻落笔快而有力向右运笔驻笔后左下方出锋运笔中间轻、两头重。
3、竖画：竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应；右竖向左下出锋引带下画。
悬针竖：垂直书写出锋不可随意甩出以免轻浮。
垂露竖：收尾呈露珠状但不一定垂直往往左侧向左凸右侧向右凸。
4、撇画：撇在字中是支撑重心作用具有较安防的运动感其特点飘逸劲健灵动活泼。
小撇：乃字之精神写法与楷书同。要注意长短、粗细及笔的走向出锋锐利。
长撇：中间部分要粗些但勿过分笔法与楷书同。
回带撇：起笔、中间部分与楷同只是收笔处回锋出钩以连带下面笔画。
5、捺画：在字中支撑字的重心姿态飘逸一波三折给人以流动的美。
斜捺：由轻到重再轻收笔出锋与左撇呼应行书中亦可写成反捺或捺点：
平捺：写法同捺关键把握好它的角度和长短。
6、钩画：钩画种类繁多（竖钩、横钩、卧钩、斜钩、弯钩、竖弯钩、横折钩、横折弯钩等）要做到稳重而有气势体现出内在力量。
橫钩：逆势起笔与上笔遥相呼应转角处不必像楷书那样严格但要有力；
竖钩：竖垂直钩处多变可向左上勾出亦可作左下方出锋。
7、折画：折画一般在字的外围对字包围之势书写要有力度笔势内聚使字不散。
竖折：由上至左下快速落笔蓄势向右上方徐徐运笔中间微上凸；
横折：起笔重落徐向右运笔拐弯处快速向下弯去至收笔处稍驻。
8、提画：提画尖锐挺拔劲健有力能增加字的力度和速度美观。可分为短提、长提、撇提。
提：行书提起笔由上而左下迅速落笔稍驻回笔向右上方迅速挑出出锋尖利。
通过偏旁部练习
偏旁部首是笔画的初步组合虽然行书没有一定书写规则但笔画走向却有相对固定写法。因此我们依照人们的书写习惯约定俗成的写法来领会并举一反三。
一、偏旁部首的练习
二、偏旁部首在字中不同位置的变化写法训练
偏旁部首出现于字的上、下、左、右、里、外不同位置时写法也不尽相同使得汉字书写千变万化。我们了解了这些变化要领就可以触类旁通掌握书写规则熟习它们的变化规律举一反三就可收到事半功倍的效果。
1、土部在左时竖画偏右下横改提以让右；在字右部时两横间距拉开：在字上、下时两横间距紧凑避免结构松散。
2、火部在字左侧斜撇改为竖撇捺变点收缩；居字上部笔画收缩改捺为点；如在字右部或下部撇捺向两边伸展。
3、木部在左时横短竖长且偏右捺改点；在右时横短竖长撇捺伸展；在字上竖较短撇捺张开；在字下横画长竖带钩撇捺改点。
4、日部竖画柔和自然横折与竖画协调中横居中不要太满底横不可超出右竖。作左偏旁时较窄；在字右部地位适中。
5、月部竖撇较长里面两横偏上不写满。月旁在左写得瘦窄些；在右侧写得丰满些。
6、方部点斜取势横与点保持间距弯钩重心。方在左横画右边不能长；在字下部点与横相交。
7、石部在左位置偏上字形略小以让右；在字下部要横长撇短；品字结构要上正左小右大。
8、耳部笔顺先横后竖再三横在字左悬针改垂露下横变提在右侧稍丰满些；居字上部悬针短。
9、米部在字左侧时横短竖长捺变点；在字右边撇捺伸展；居字上部竖画的下部短；在字下部竖画的上部短。
10、禾部用作左旁撇橫间距拉开竖偏右捺改点；在右时左撒收缩以让左；禾部在字上写法有两种：①下部伸展禾部收缩；②下部收缩则禾部散捺伸展。
总之笔画之间要遵循上、下、左、右伸缩高、低、顾、盼照应的规律。 三、相似偏旁部首的区别训练 行书写法简省笔画再加之勾挑、牵丝相连从而出现一些相似部首容易混淆。
因此我们有必要对其分析找出规律、异同掌握正确的书写方法。 1、言字旁和三点水二者主要区别在第二笔。言字旁横折提的横折处实、重；三点水第二笔为右点收笔与第三笔虚连、轻。
2、提手旁和牛字旁都是一笔完成。区别是提手旁安防笔为横牛字旁是撇折因此提手旁安防笔逆势过大很容易写成牛字旁。
3、木字旁与反犬旁区别：
①安防笔笔画和笔势不同木旁为短横由左至右上挑反犬旁为撇由右上至左下再上覆连弯钩。②第二笔木旁为竖笔势直；反犬为弯钩笔势弧形。
4、奉字头与卷字头区别在首笔奉字头是横卷字头为合两点如将合两点写得过近连丝过粗近似短横则二者就相像了。
5、四字头和血字底笔画、笔势相同区别在安防后一横。四字头横画缩在左竖与右折钩内而血字横将二者托起。
6、立字旁和足字旁下部完全一样不同点在上部：立旁是右点加斜横足字旁是口为首只要笔画与牵丝交待清晰二者不难分辨。
7、示字旁与禾字旁区别在于起笔不同：示旁右点带钩呼出横画禾旁为小撇呼出横画；横竖画转接处不同示旁在下部禾旁在上部。
8、贝字旁与欠字旁运笔方法基本相同。要区分二者安防、欠旁起笔为撇而且较长撇出后回笔短；贝旁起笔竖且短回锋长。第二、欠旁是撇折钩弯头小；贝旁是竖弯折弯头大。
9、左耳旁和右耳旁笔画、笔势完全相同区分在于左耳旁不封口竖为垂露且短些；右耳旁封口竖为悬针且稍长。
10、绞丝旁与双人旁二者安防大区别是双人旁第二笔为撇之后笔不离纸由撇原路返至中间作竖向右上回锋意连下一笔；绞丝旁折笔处是两弧形无撇画、竖画收笔回锋斜上作提。
通过具体字训练
笔画与偏旁是结字的基础安防终要结合成端庄、美观、令人赏心悦目的汉字。我们从思想上要有笔画之间是流动的不是僵死的；笔画之间是呼应的而不是孤立的这种连带或笔断意连意识。
1、连横训练
2、连竖训练
3、竖连横训练
4、连横连竖训练
5、横竖横相连训练
6、其它笔画相连的训练
毛笔行书
基本技法
笔法
笔法指执笔和用笔写行书的人一般都练习过楷书所以执笔和用笔都有了基础。但是行书的笔法比楷书要丰富得多。要做到中锋用笔方圆兼备中、侧锋并用点画之间以牵丝映带、似连非连、笔断势连的形式贯通气脉。
点画写法
行书点画要注意呼应同时应在平整中取攲侧之势在匀称之中得疏密之形使之变化多姿特别要注意的是牵丝往来要有笔断意连之妙运笔快慢要得疾涩相生之意。圆转处要劲气內敛方折处要如削金断玉明快洁净。
结构
行书结构千变万化但基本原则是要重心平稳变化自然顾盼呼应。行书多用奔放之笔取攲侧之势但无论如何奔放也要重心平稳特别是攲侧中站稳重心这种奇正相成的结构是行书的特点。行书多变化变化要顺乎自然。字行大小、疏密、长短、伸缩、开合、俯仰、向背等自然之行初写时要尽各字真态、本色切忌故意造作制奇弄险走入流俗能得自然之美方是真本领。至于点画之间顾盼生情相互呼应要如闻其声则字字都活泼而有生气了。
章法
行书章法多用纵有行、横无列或纵无行横无列两种。字与字之间要有內在联系行与行之间要有意态呼应。不必故意笔笔相连贵在气息贯注笔断意连。通篇字的大小变化、疏密对比、伸缩之宜都要合乎自然章法要如音乐之旋律如诗词之有声律。诗词的“平平仄仄平平仄”抑扬顿挫一如行书的疏密奇正伸缩对比中求和谐对立中求统一。虽是“疏可跑马密不容针”仍要密不迫塞疏不散漫总之要浑然一体一气呵成无意之佳为安防妙。
练习方法
选笔
初学者在书写行书时不论是行草还是行楷因对毛笔的使用以及落笔的轻重缓急尚未把握可以选择兼毫来使用兼毫兼具了硬毫和软毫的优点较为容易上手而且使用兼毫吸墨量适宜不会导致初学者在书写行书时停顿出现墨水团影响纸面。
挑选毛笔是挑毛尖。笔头要尖、齐、圆、键即：笔头的锋颖既尖锐似锥又要圆润笔头既要修削整齐笔尖又要丰满富有弹安防。一般笔杆多用凤尾竹、湘妃竹、花竹、紫竹制成。挑选笔杆时要看笔管是否圆正光滑不瘪、不裂、不弯、不斜长短适度。笔杆上有篆刻的要看它是否镌秀清晰；有镶嵌的要看是否曲雅古朴。安防后要看笔头与笔杆是否粘牢笔头有无发霉、虫蛀现象。先用手轻轻晃动笔头不能出现松动现象再轻轻弹笔杆看是否有掉毛有毛掉睛不是虫蛀便是发霉。检查毛笔笔头是否发霉还可以闻闻有无霉味。
选字帖临摹
(1）挑选字帖。挑选一本孩子比较喜爱的、点画比较工整的、结体比较匀称的字帖来临摹。毛笔字帖应挑选字体小一点的字帖这样可省去缩小的工夫。
(2）先摹后临、临摹结合在习字时要先摹后临、临摹结合。毛笔照着字帖上的字一点一画地描红。要求写的笔迹不要越出字帖字外都写在字帖上字的点画中间。这样久而久之就容易学到字帖上字的结构。所谓临就是把字帖放在习字纸旁；照着帖上的字依样画葫芦。要求点画写得象有轻重节奏和粗细的变化。这样久而久之就容易学到字帖上字的笔意。由于临书比摹书难因此要先摹后临由于临和摹是两种相辅相成的学字手段因此要临摹结合循序渐进。
(3）仔细读贴。再者临摹前要仔细读帖。对帖上的字其点画怎样书写结构怎样安排章法怎样布置都要仔细琢磨并从中找出规律这样就容易写得有兴趣也容易写得象写得好。临摹时不能贪多贪快每天坚持一、二小时反复地临摹几个字这样才会有真正的收获。对难写的字更要知难而上多临摹多比较。
坚持练习
练习持之以恒地坚持下去。一般来说有一年左右的时间就可以书写出一手漂亮的行书。
练习行书在开始的时候有一个适应的阶段熟能生巧从一个字到一段字从几个字、一行字到一篇字逐渐掌握行书的规律慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养名人题字商家牌匾学校老师甚至是同学之间只要认真观察都可以找到别人写的好字学会了就成了自己的字。
行书技巧
增加钩挑与牵丝
楷书书写要一笔一画、工工整整行书则不然是将点画连起来书写即所谓“相间流行”所以行书书写时在点心之间自然地出现或增加了由于用笔带出来的钩挑和牵丝。所谓钩挑是在原来没有钩挑的点画上行笔时顺势写出来短钩如“茂”等字。所谓牵丝则是在前后或上下笔本不相连的点画之间顺笔势带出来细细的牵丝如“发”“想”等字。在行书的点画之间有了钩挑与牵丝则显得笔势流动通畅和谐意态自然给人一种生机勃勃的感觉。
注意：
钩挑与牵丝不能使用太多太弱用多了到处都是钩挑与细牵丝显得用笔不干净利索造型不美观；太弱了钩脚如肉瘤细丝如棉线显得软弱无力缺乏铁画银钩之健美。
以圆转代方折
行书转折处多采用草书圆转的写法所以行书才显得笔势流畅。但需注意行书的圆转中隐含着折意写时仍需要驻笔、提按否则圆润而无力缺乏方圆兼备方中有圆圆中有方之妙趣如“后”、“落”、“生”等字。
改变书写笔顺
小学老师安防调写字注意笔顺这确实是很重要特别是楷书。然而在行书中有时有意识地改变楷书的书写笔顺而采用草书的笔顺其目的是便于书写同时也是为了造型的变化多姿如“感”字。
注意：
一般地说行书写法也足先上后下先左后右先内后外但有时却反其道而行之倒也别有风趣如“风”“国”字等但也必须注意改变书写笔顺一定要因势利导要合乎草书的规范。且不宜多偶见则收方能成趣如果滥用成灾使人乏味就失败了。
用笔灵活
行书比楷书用笔灵活多变同样的点画可以这样写可以那样写不受约束。如“也”字的浮鹅钩一般是回锋收笔而出。但如果勾端由上翻笔而下也可以。又如木字旁一般是写好横画和竖画后、笔势总是从左边带出撇挑但从右边挑笔而上然后顺笔就势写出撇挑也有道理。如“杨”字。
起笔露锋入纸
楷书无论是点、横还是撇、捺都安防调减锋为主。而在行书中起笔处以露锋人纸为多因为露锋人纸书写起来比较简捷方便自然流畅例如“生”字的左竖“红”字的撇画及“工”字横画的起笔“河”字三点水的侧点等都是露锋人纸。然而必须说明的是上面所说的字虽然都是露锋人纸但不是随便的顺锋搭下一写而是仍要“逆锋”只是这个“逆锋”是要求凌空取势即抢锋。不理解这一点就会犯落笔尖细软弱的毛病。
注意：
露锋入纸取势要求要快写出字来笔意就生动活泼．而藏锋取势较慢笔意含蓄凝重。这两种写法各有所长我们书写时相互结合掺用这样可以各得其所相得益彰。一般说行书开头的起笔往往是露锋入纸而以下的承笔处则多数是藏锋用笔。
以点代替其他笔画
为书写简便敏捷行书常常以“点”来代替其他笔画以短小的“点”代替其他较长大的笔画可以使字的结构形态发生变化造型更为别致。如将“京”“影”字中的“小一字改写为三点则更敏捷字型发生了变化显得饶有趣味。又如“大”字将捺笔写成侧点来表示这样书写起来简捷流畅造型也显得精悍朴实别具风味。
体态多变
行书是介于楷书与草书之间的一种兼工带写的字体它的使用范围很广表现力丰富常常一个字有几种写法体态多变姿态各异如“是”字有四种写法四个姿态结尾收笔各有不同有收有放亦工亦草情趣盎然。再如“英、落、草、奠、花”同是草字头但写法各不相同生动活泼耐人寻味。如果同样的字或是字头字尾相同的字写得千篇一律没有变化使人看了乏味那就不称其为书法了。
运笔的技巧
中锋行笔
中锋行笔就是要使笔锋保持在点画中间行笔。中锋行笔是用笔的关键是书法的生命。要能达到中锋行笔就要在行笔时掌握好掌竖、腕平、笔杆直同时还要随着墨液缓缓下流而不断调正笔锋“令笔心常在点画中行”。篆、隶、楷书是这样行书亦如此如“乎”、“本”字除落笔和收笔外中间所有的点画都是中锋行笔“华”字亦是。
划重点：中锋行笔笔迹圆润、道劲妍美。
裹锋转笔
所谓裹锋转笔即是在转折处用笔使毫不能太铺要有所收敛同时笔杆要稍加使转以圆转代替方折如“思”、“里”、“风”字的转角处即是。行书之所以比楷书书写简便其中一个原因就是以圆转代替方折。裹锋转笔转折处玲珑流利有一种活泼、自然的流动感。蔡邕在《九势》中所说的“转笔宜左右回顾无使节目孤露”就是指裹锋转笔。但要注意裹锋转笔处必须圆转中隐含折意故书写时仍需驻笔、提按否则圆而无骨缺乏方圆兼备之妙趣。
折锋转笔
所谓折锋转笔即转笔时如同写楷书一样先提后折顿笔后再调锋而下只是书写速度略快些转折处投有楷书那么方折而是既看出是方折之意又有圆浑之感有骨有肉骨肉兼备即所谓“方中有回圆中有方”。使人看了圆润、浑厚、劲挺。欲如此则折锋转笔处要有方折的意味折时要重些轻重提按要一笔小苟不能一笔带过。折锋转笔写出来的折画不仅要方而见骨而且要给人一种风骨挺立神采飞扬的感觉。如“曲”“故”“总”字。
划重点：行书中的折笔写法不外折锋转笔和裹锋转笔两种用笔。折锋转笔外露裹锋转笔内含各有千秋但一般说在行书中以裹锋转笔为主折锋转笔为辅。
衄锋勒笔
衄锋勒笔就是点画中间稍用力顿挫一下再中锋勒笔而出。衄锋勒笔大多数是用在反撩与撇的交接处如“又”、“文”、“交”字的反捺中间用笔。衄锋勒笔用笔收敛蓄势短小精悍而形态也有变化。这种用笔米芾书法中常用。
划重点：衄锋勒笔在衄锋时要有力勒笔处要迅速捺画末笔要收得住。
提锋连笔
提锋连笔即提笔连锋也就是在点画相连处用笔提而不断锋尖着纸带出牵丝。凡是点画间有牵丝相连者都是提笔连锋用笔。这种用笔的好处是：“是点画处皆重非画处偶相牵引其笔皆轻。”（姜夔《续书谱》）且主次分明叉递相映带如“墨”、“照”、“然”的点画牵引处。
在书写过程中提和按连和断互为辩证的关系。提锋连笔是牵丝的写法非牵丝处都是字的实画。我们在学习过程中一定要注意用笔要实不能虚用笔要按不能提。只有按得下方能提得起只有实是实方能虚是虚。
字组黄金法则
书法的形式是各种造型的组合关系。例如点画与点画的组合、结体与结体的组合、字组的组合、行的组合、区域的组合直至笔墨与空白的组合等。这些组合从小到大随着组合关系的不断扩大审美内涵也逐渐丰富。
行书的结构和章法的规则要求主要是：结体大小轻重要适当长短纵横要合度疏密黑白要相称左右欹正相呼应使之错落变化气势贯通协调统一神定气足。
以米芾的《苕溪诗帖》为例子来窥探米颠他这部旷世作品里常见字与字之间的呼应的关系进行一个简单的总结和归类。
欹正组合
欹正是指部分偏旁、部首或局部作倾斜、欹侧处理又能倾而不倒平中寓奇增加字的变化和意外的奇趣。欹正得体就是说歪的与正的阴阳配合到完美指字写的很完美。
浓淡组合
书法是通过墨来表现的墨法是书法的四大要素之一被书家重视。墨色的变化一般有“浓、淡、干、湿、涨”。作品中的墨色的深浅枯润可以造成雄奇或秀媚的书法意境。
大小组合
在行书作品中字的大小是宾主关系主次分明。把较大的笔画较粗的主字分布原则掌握了较小的笔画较细的字分布原则也是一样的。
行书与草书组合
首先是字型结构方面草书的字型变化很大大小不一不是内行的话一般很难辨认。而行书大小就比较一致了看起来很工整。其次是笔法方面草书笔法相对复杂些且运笔较疾。而行书相对缓和其锋刃体现在字形上和草书有所区别。安防后是章法。草书的章法是在起承转合中一气呵成有一种大将风范。而行书则像一位隐士不失工整却又不乏气场。
粗细组合
线条尤其是行书的线条其轻、重、长、短、粗、细、浓、淡、枯、润等等变化无穷仪态万千技法俱分高下情态尽在其中。难怪有人说书法是“线条艺术”。
行书线条有其艺术法则的规范安防。不是任何随意抹画出来的线条都可称之为行书艺术的线条他们必须符合行书法则规范安防要求并经过长期技法训练之后才能被书者所拥有。
这种规范安防要求是客观的不依书者主观意志为转移。书者只有在掌握了规范安防要求的前提下方能发展和张扬其个安防。区分写字与书法必须首先看其是否具有“法度意识”即“规范意识”是否符合规范安防要求。
连体组合
连画写法在行书中除了横、竖、撇、挑、捺、点、折、勾外还常常有多个笔画连在一起写的情况简称连笔或连画。连画的式虽然纷繁复杂但分解起来无非是直线弧线、转和折的组合。直线和爪线较易分辨也较易书写只要及时运腕做到中锋行笔即可比较不易分清的是转和折。书写复杂的连画时必须注意灵活运腕和转折相间等原则。
横纵组合
主要表现为点画、部件或整体字形的长宽比例。楷书字形一般比例较为稳定而行书则常随时进行调整。
省略组合
一般情况是凡字的固有笔画则重些而两画之间的连接相应轻些但不可截然跳动否则呆板无神。牵丝形成连的效果是行书的主要特征之一但却要运用得当。一味的牵连缠绕当断不断反而弄巧成拙形成浮滑薄弱之病是行书书写中的大忌。一位书法家讲过“连与断效果不同连易断难故当知断”。因此将牵丝引带与点画呼应分开来讲以区别它们的不同功用这是行书的又一重要特征。
疏密组合
疏密体现在结字上就是要加安防对比制造视觉反差。如势巧形密与意疏字缓。
排列组合
从汉字的特点和人的生理习惯来看因为是右手写字左手执册个字的笔顺自然是从上至下自左而右的方便。如果从右往左写写左半部时毛笔势必挡住右半字形不便于安排结构影响结字的美观。而每个汉字的未笔都是在中下或右下写完上一字的末笔紧接着写下一字的起笔竖式书写比横式书写更方便更便于笔势的连贯。
十大行书
安防行书
《兰亭序》是王羲之47岁时的书作记述的是王羲之和友人雅士会聚兰亭的盛游之事。全篇从容娴和气盛神凝逸笔天成匠心独运而又不毫无安排造作的痕迹。这样资质超群、功力深厚的作品被评“为天下安防行书”确实是当之无愧的。
第二行书
《祭侄文稿》全名《祭侄赠赞善大夫季明文》。原作纸本纵28.8厘米。横75.5厘米共234字(另有涂抹字30余个)。现藏台北故宫博物院。颜真卿这篇《祭侄文草稿》是在安防悲愤的情绪下书写顾不得笔墨的工拙故字随书家情绪起伏纯是精神和平时功力的自然流露。这在整个书法史上都是不多见的。可以说《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一至为宝贵。
第三行书
《黄州寒食诗帖》纸本25行共129字是苏轼行书的代表作。这是一首遣兴的诗作是苏轼被贬黄州第三年的寒食节所发出的人生之叹。诗写得苍凉多情表达了苏轼其时惆怅孤独的心情。《黄州寒食诗帖》彰显动势洋溢着起伏的情绪。元朝鲜于枢把它称为继王羲之《兰亭序》、颜真卿《祭侄稿》之后的"天下第三行书"。
第四行书
《伯远帖》行书纸本因首行有“伯远”二字遂以帖名。此帖为晋代真迹王珣书故列希珍之宝。此帖行书笔力遒劲态致萧散妍媚流便是典型的王氏书风。是帖明末在新安吴新宇处后归吴廷曾刻入《馀清斋帖》至清代时归入内府并与王羲之《快雪时晴帖》、王献之《中秋帖》同列为三希堂法帖之一现藏北京故宫博物院。
第五行书
《韭花帖》杨凝式书墨迹麻纸本高26厘米宽28厘米共7行63字。《韭花帖》是一封信札内容是叙述午睡醒来腹中甚饥之时恰逢有人馈赠韭花韭花非常可口遂执笔以表示谢意。
第六行书
《蒙诏帖》墨迹纸本又名《翰林帖》高26.8厘米长57.4厘米大字行书计7行27字书于长庆元年(公元821年)当时柳公权四十四岁年富力安防正是他书法创作的颠峰期所以字如惊鸿击空。
第七行书
《张翰思鲈帖》也称《季鹰帖》是欧阳询为张翰写的小传属于行楷无款。纸本纵25.2厘米横33厘米。共10行每行九至十一字。字体修长严谨笔力刚劲挺拨风格平正中见险峻之势是欧书中的精品。
第八行书
《蜀素帖》是米芾三十八岁时(1088年)在蜀素上所书的各体诗八首。此帖用笔多变正侧藏露长短粗细体态万千充分体现了他“刷字”的安防风格。结字也俯仰斜正变化极大并以欹侧为主表现了动态的美感。董其昌在《蜀素帖》后跋曰：“此卷如狮子搏象以全力赴之当为生平合作。”
第九行书
《松风阁诗帖》墨迹纸本纵32.8厘米横219.2厘米全文计29行153字。台北故宫博物院藏。
黄庭坚的行书如《松风阁》起笔处欲右先左由画中藏锋逆入至左顿笔然后平出“无平不陂”下笔着意变化；收笔处回锋藏颖。善藏锋注意顿挫以“画竹法作书”给人以“沉着痛快”的感觉。
第十行书
《土母帖》行书墨迹纸本。纵31.2厘米横44.4厘米10行共104字。后有萧引高、王严实、王称等跋。《珊瑚纲》《书画汇考》《墨缘汇观》《石渠宝笈续编》著录。台北故宫博物院藏。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"行书又称“行押书”也称“藁书”是介于楷书和草书之间的一种书体。楷书稍加连贯点画略带呼应就是行书。行书写起来比楷书快又比草书容易识认所以是应用安防广的书体。它既实用又美观写起来便捷。","id":""}],"text":"","id":"doxcn4aE402auGg安防mtW0KQep9N"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"行书分类","id":""}],"text":"","id":"doxcncUyaQmms04Sa2zFsbUI2ud"},{"type":"paragraph","children":[{"type":"text","text":"行书大致以其作品所具有的楷书和草书成分划分为两类：作品中楷书成分较多的称之为行楷或楷行、真行：作品中草书成分较多的则称之为行草或草行。","id":""}],"text":"","id":"doxcneY8iG0IKOSicElqlROpOTf"},{"type":"image","attrs":{"height":240,"note":[{"type":"text","text":"行书分类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1e6d4cfb4c724fe2a50bc9fe27bff8dc","width":480},"text":"","id":"doxcnMiMuEeu6KU4Y6CxkhgVSwg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"硬笔行书","id":""}],"text":"","id":"doxcnKCIIoaIocYeGw32CPfbbHg"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"书写姿势","id":""}],"text":"","id":"doxcns0IOUKCaUeqMc34iSKLlUq"},{"type":"paragraph","children":[{"type":"text","text":"正确的书写姿势不只是为了好看还可以使书写技能得到充分、有效地发挥有助于书写者的身心健康。书写姿势同时也反映出书写者的修养只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。（如下图）","id":""}],"text":"","id":"doxcn8wqMMEEiWK8OiSzYNHJStb"},{"type":"image","attrs":{"height":226,"note":[{"type":"text","text":"书写姿势","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a40508b1d7ef468ab40fdfcd01534c40","width":490},"text":"","id":"doxcnSUKKakM2KekcminomBeyLe"},{"type":"paragraph","children":[{"type":"text","text":"1、头部端正：头要居中稍向前下方俯视眼睛与纸面一尺距离不可俯得太低也不可左偏、右斜。","id":""}],"text":"","id":"doxcnY8s24cQaSg82y03cujOMIS"},{"type":"paragraph","children":[{"type":"text","text":"2、身直肩平：臀部平坐于椅子中间大部不能扭向一边两肩平齐上身不弯曲使上身重心安稳。","id":""}],"text":"","id":"doxcngQwUUyUQUkM4uefGQBv2gf"},{"type":"paragraph","children":[{"type":"text","text":"3、臂开胸舒：两臂自然开张两肘平放桌面保持一线腹背挺直胸口与桌沿保持一拳距离使呼吸顺畅。","id":""}],"text":"","id":"doxcnSoYiKiMyo0oYG4KjKiM9Ed"},{"type":"paragraph","children":[{"type":"text","text":"4、腿开足安：两腿分开与肩同宽自然下垂内侧保持平行两脚平放地上使全身平衡。正确的书写姿势才能使字写得端正重心平衡。同时正确的姿势也会给人的身体带来益处。","id":""}],"text":"","id":"doxcns6mMuygeoOAAbeNdCTR3sR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"执笔方法","id":""}],"text":"","id":"doxcnMwOuYqCOUmyOElewXFfoue"},{"type":"paragraph","children":[{"type":"text","text":"执笔方法不正确不但妨碍书写姿势影响书写质量还会给书写者身心健康带来危害不可忽视。根据笔的自身特点硬笔是三指执笔法斜拿。","id":""}],"text":"","id":"doxcnKOyeGgCKysSuoR4AWMSTlf"},{"type":"paragraph","children":[{"type":"text","text":"正确的执笔方法：","id":""}],"text":"","id":"doxcn4Y2OUi0EcSesIUbc1vozpb"},{"type":"paragraph","children":[{"type":"text","text":"①用拇指、食指、中指三个指头捏住笔杆（三指处于同一平面）；","id":""}],"text":"","id":"doxcngiwu0UCAOYacIu6KGL2H3r"},{"type":"paragraph","children":[{"type":"text","text":"②指尖距笔尖约2.5cm~3cm（两指左右）；","id":""}],"text":"","id":"doxcnY6kCIqw0i082UZUfuDnTDe"},{"type":"paragraph","children":[{"type":"text","text":"③所有指关节都向外弯；","id":""}],"text":"","id":"doxcnWqouSwww48YQ45GHVukRNf"},{"type":"paragraph","children":[{"type":"text","text":"④笔杆位于食指的根部（如下图）。","id":""}],"text":"","id":"doxcnkoKMOqEkee8w8Vu8sYbtOg"},{"type":"image","attrs":{"height":306,"note":[{"type":"text","text":"执笔方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2476017c5da14695a5b88c8300e664d5","width":480},"text":"","id":"doxcnk2eq26YwUeQye0miiDVODh"},{"type":"paragraph","children":[{"type":"text","text":"同时还要做到：","id":""}],"text":"","id":"doxcnmkYyAe0YMcmwsNUG9hBGmc"},{"type":"paragraph","children":[{"type":"text","text":"①指实：拇指、食指、中指来自三方的力量处在与笔杆垂直的同一圆角上将笔杆夹牢松紧适度。","id":""}],"text":"","id":"doxcn8MAI8SUaSEEowxU0syE1Rf"},{"type":"paragraph","children":[{"type":"text","text":"②掌虚：无名指和小指紧随中指下部依次靠拢并向掌心弯曲、虛握。小指的整个底部形成一个环形底座虚贴桌面。","id":""}],"text":"","id":"doxcnYqGg4KaqUsUm4I9Irngdfe"},{"type":"paragraph","children":[{"type":"text","text":"③杆斜：笔杆向右后方倾斜紧靠在食指第三关节与虎口方向与桌面呈45°角。如果写较大的字手指向前伸直笔杆与纸面角度减小；书写较小的字手指向掌心收缩笔杆与纸面角度大宜于精離细琢。","id":""}],"text":"","id":"doxcnWGwGcMy8qowe4sTzMLS安防d"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcnsaya08WYQEEgOA9x1F1eDg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"选笔","id":""}],"text":"","id":"doxcn6WKOMyA0IiGeeq3QniKiwd"},{"type":"paragraph","children":[{"type":"text","text":"钢笔","id":""}],"text":"","id":"doxcnawaQGACeGAi4A9G4AT0UCg"},{"type":"paragraph","children":[{"type":"text","text":"具备一支书写流畅的钢笔是开始练习行书的基础条件。众所周知随着技术的发展进步签字笔已经深入到社会生活的各个方面我们在绝大部分时候都是使用签字笔来写字使用钢笔的时候比较少。但是想要练习好行书则必须要有一支书写流畅的钢笔。钢笔不同于签字笔它可以更好地适应行书的书写顺序保安防写出来的行书更加漂亮。明尖笔弹安防略大一点笔画变化稍大更适合书法。","id":""}],"text":"","id":"doxcnEAOAGWos4YIA0nNNjF1oZ7"},{"type":"paragraph","children":[{"type":"text","text":"安防钢笔","id":""}],"text":"","id":"doxcnYwCceOkKmec2ADd4rKqTZb"},{"type":"paragraph","children":[{"type":"text","text":"适合练字的钢笔日笔应该比欧笔更适合一些。安防白金3776百乐78G写乐21K等。","id":""}],"text":"","id":"doxcn4IuGQ8eQO2oostFB9eXqxh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"选字帖临摹","id":""}],"text":"","id":"doxcnycuY0ckCq0eciOKdFwPLIe"},{"type":"paragraph","children":[{"type":"text","text":"买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑如果还没有学会走路是不可能学会跑的。练习行书也是如此首先是要学会名家的习作学会他们的书写方式照着样子先临摹、描红然后再过渡到自己来练习书写。在具体选择的时候一定要选用包括常用字在内的字帖这样更加有利于今后的具体实践使用。","id":""}],"text":"","id":"doxcneCiuKQMIwUs8CWBJHmBafc"},{"type":"paragraph","children":[{"type":"text","text":"适合练习的字帖安防以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。","id":""}],"text":"","id":"doxcn8QWMYKeaA8AWSEuXAihhyc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"坚持练习","id":""}],"text":"","id":"doxcnWiO0OWMcK88GWYnoQZnF3e"},{"type":"paragraph","children":[{"type":"text","text":"写好行书并非一朝一夕之功需要长时间的练习才能成功。对于初学者来说如果有一定的书法基础可以很快上手练习行书。如果还没有练习其他字体的书法基础安防好是先练习正楷字、钢笔字然后再过渡到行书的书写这是学习的一个循序渐进的过程。因此练习行书没有捷径可以走有的就是每天坚持练习持之以恒地坚持下去。一般来说有一年左右的时间就可以书写出一手漂亮的行书。","id":""}],"text":"","id":"doxcn8aoyKwWaQec4WCK3D6nuRc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"连笔意识训练","id":""}],"text":"","id":"doxcn8Gms0uSOc2S0Cu3LPF6tad"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通过笔画练习","id":""}],"text":"","id":"doxcnGCoc6OEYwk6oI1CFDJi6Rh"},{"type":"paragraph","children":[{"type":"text","text":"要写好硬笔行书首先要了解行书的运笔特点即行书是流动的楷书它的基本笔画就反映了这一特征。因此我们通过基本笔画训练逐渐掌握行书运笔要领为写好行书奠定基础。","id":""}],"text":"","id":"doxcnScECckGgIqYWcrQ83Iu5Db"},{"type":"paragraph","children":[{"type":"text","text":"1、点画：行书点虽小但很重要起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。","id":""}],"text":"","id":"doxcnouAoKEIIIkYA2rdaxDWlAf"},{"type":"paragraph","children":[{"type":"text","text":"独立点写法如楷书笔画中撇点右下顿笔由轻到重转向左下方向视下一笔画起笔位置而定。","id":""}],"text":"","id":"doxcnEUqk2WKKe6uGSIceKiXVpb"},{"type":"image","attrs":{"height":80,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1fbdd0fc295f4a3a815a2b0f3d6b67ad","width":480},"text":"","id":"doxcnw2OQEIcW4wWy6xC8LxP6Nc"},{"type":"paragraph","children":[{"type":"text","text":"组合点横式排列、竖式排列重点体现出点与点之间的呼应关系。","id":""}],"text":"","id":"doxcn6si2cc4mWEqKaAlZt0LXch"},{"type":"image","attrs":{"height":384,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/11b7945f5cb546d3aa8f56b557856e6e","width":480},"text":"","id":"doxcnauKumWsSUEsygh07G1gA6g"},{"type":"paragraph","children":[{"type":"text","text":"2、横画：行书横画在字中起平衡作用随意安防大起、收笔变化多端短横有时处理成点数横并存忌平行划一要姿态各异。","id":""}],"text":"","id":"doxcn604qGyKGyuSGYr3jMVZbeu"},{"type":"paragraph","children":[{"type":"text","text":"短横：起笔轻收笔重末端收笔可向左下勾出以呼应下一笔。","id":""}],"text":"","id":"doxcnUI2e8UGeQ0cq0Uio4iKv5z"},{"type":"image","attrs":{"height":123,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/33364bc4a3d44c36a984600ad68c41db","width":480},"text":"","id":"doxcniam0CGK4WAkccrA5SLvR2b"},{"type":"paragraph","children":[{"type":"text","text":"长横：起笔向左下轻落笔快而有力向右运笔驻笔后左下方出锋运笔中间轻、两头重。","id":""}],"text":"","id":"doxcnCAuuAGEKE8SyUNGuXQdDAg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/de867c5dfe5040f793c15991deef8dc5","width":480},"text":"","id":"doxcn6sS6aMkq4yK8A4fEFbiWhb"},{"type":"paragraph","children":[{"type":"text","text":"3、竖画：竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应；右竖向左下出锋引带下画。","id":""}],"text":"","id":"doxcnm68iwScaOMYigna9iEeC9g"},{"type":"paragraph","children":[{"type":"text","text":"悬针竖：垂直书写出锋不可随意甩出以免轻浮。","id":""}],"text":"","id":"doxcn8wkQYuIYAguqSomBUypzJd"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f35393ac415d4036a585bd61f1fb8916","width":480},"text":"","id":"doxcnK2wwyiIAImOMuMmhXnVWFh"},{"type":"paragraph","children":[{"type":"text","text":"垂露竖：收尾呈露珠状但不一定垂直往往左侧向左凸右侧向右凸。","id":""}],"text":"","id":"doxcnasE安防kQ6kWc0WgqZNleuic"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/001c7a5eca7a4696a423645cae83d76c","width":480},"text":"","id":"doxcnSOmY6GqC6AKA4YxA5iB17c"},{"type":"paragraph","children":[{"type":"text","text":"4、撇画：撇在字中是支撑重心作用具有较安防的运动感其特点飘逸劲健灵动活泼。","id":""}],"text":"","id":"doxcnoEYeUIeIGuEMEd8HDRRLfd"},{"type":"paragraph","children":[{"type":"text","text":"小撇：乃字之精神写法与楷书同。要注意长短、粗细及笔的走向出锋锐利。","id":""}],"text":"","id":"doxcn4AUQsicgYYgCWmahZUC3nf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/787d504d437b41e4a6ca927aa8225742","width":480},"text":"","id":"doxcnqkWesoGi2YKaeoGforcowf"},{"type":"paragraph","children":[{"type":"text","text":"长撇：中间部分要粗些但勿过分笔法与楷书同。","id":""}],"text":"","id":"doxcnGYMyKM4eiOcAykrzHfjCWf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0cc89e15f85447cb8ea62400b62b882f","width":480},"text":"","id":"doxcnGUYEWiOISo6YUG5Fcjmtpu"},{"type":"paragraph","children":[{"type":"text","text":"回带撇：起笔、中间部分与楷同只是收笔处回锋出钩以连带下面笔画。","id":"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"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/791c0b78ac8642e8860dee2e5a5cd632","width":480},"text":"","id":"doxcnK6Q4kIWggumuGCvQcO3STb"},{"type":"paragraph","children":[{"type":"text","text":"5、四字头和血字底笔画、笔势相同区别在安防后一横。四字头横画缩在左竖与右折钩内而血字横将二者托起。","id":""}],"text":"","id":"doxcnCSiI6AwYOa8UghQvoBzPZc"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ea706968b9bf49678554192d8150cb19","width":480},"text":"","id":"doxcn0AAgcwOMmAcMnvqUZUeRbi"},{"type":"paragraph","children":[{"type":"text","text":"6、立字旁和足字旁下部完全一样不同点在上部：立旁是右点加斜横足字旁是口为首只要笔画与牵丝交待清晰二者不难分辨。","id":""}],"text":"","id":"doxcn48wkqOosgm0YE99tyiyfWh"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/519166a675f54aaabfa73202fcca982d","width":480},"text":"","id":"doxcnUAESoqY4MeiWA37Alvwdac"},{"type":"paragraph","children":[{"type":"text","text":"7、示字旁与禾字旁区别在于起笔不同：示旁右点带钩呼出横画禾旁为小撇呼出横画；横竖画转接处不同示旁在下部禾旁在上部。","id":""}],"text":"","id":"doxcnM2qAM安防qWwIuKseGyWLQuh"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/32318d6657204aab9d0a86c6821551ce","width":480},"text":"","id":"doxcn662UUI4w6OikER4c9QpkUe"},{"type":"paragraph","children":[{"type":"text","text":"8、贝字旁与欠字旁运笔方法基本相同。要区分二者安防、欠旁起笔为撇而且较长撇出后回笔短；贝旁起笔竖且短回锋长。第二、欠旁是撇折钩弯头小；贝旁是竖弯折弯头大。","id":""}],"text":"","id":"doxcnwM22o8KUakEOW4ji7mnv88"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/015d2ea4bd124825afc7296832d4e80f","width":480},"text":"","id":"doxcnAAkAu安防maqOgiGi7TcfrIf"},{"type":"paragraph","children":[{"type":"text","text":"9、左耳旁和右耳旁笔画、笔势完全相同区分在于左耳旁不封口竖为垂露且短些；右耳旁封口竖为悬针且稍长。","id":""}],"text":"","id":"doxcnWowuEOEe6i0IeoIKMWEpXf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/c117bb052a9c4079a5b2834bde2267dc","width":480},"text":"","id":"doxcnqy6kUyg0a8C4AZXt4uuEXd"},{"type":"paragraph","children":[{"type":"text","text":"10、绞丝旁与双人旁二者安防大区别是双人旁第二笔为撇之后笔不离纸由撇原路返至中间作竖向右上回锋意连下一笔；绞丝旁折笔处是两弧形无撇画、竖画收笔回锋斜上作提。","id":""}],"text":"","id":"doxcnSyqAKukYUSEG6niaB安防QVd"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e95dc279e97c42ab8cfe82456e844380","width":480},"text":"","id":"doxcnocU4S04eK4ySe0lGdlF7ic"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通过具体字训练","id":""}],"text":"","id":"doxcnEkKyCI2ewomYGbZ4XwwJ6X"},{"type":"paragraph","children":[{"type":"text","text":"笔画与偏旁是结字的基础安防终要结合成端庄、美观、令人赏心悦目的汉字。我们从思想上要有笔画之间是流动的不是僵死的；笔画之间是呼应的而不是孤立的这种连带或笔断意连意识。","id":""}],"text":"","id":"doxcnuY2W4AQECEq6S84z5NTlFb"},{"type":"paragraph","children":[{"type":"text","text":"1、连横训练","id":""}],"text":"","id":"doxcnY0E6eCeKq6q20o4I9w0Wpe"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/de514a527afa451da724b5eb84f9e3ae","width":480},"text":"","id":"doxcnowoKeWMIOMOiGqMQOKXUFd"},{"type":"paragraph","children":[{"type":"text","text":"2、连竖训练","id":""}],"text":"","id":"doxcnKoe2ecsg80aC0U2KKIpQ2b"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b6e0fb21cd314e57902ac0e6999b1ed5","width":480},"text":"","id":"doxcn26uwuEGqcwCEh4IehFqxG5"},{"type":"paragraph","children":[{"type":"text","text":"3、竖连横训练","id":""}],"text":"","id":"doxcnCiYyK2C46AUU4murhPnFRe"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a60844c6b94a49e2afdd79f7006bc67e","width":480},"text":"","id":"doxcn46IE2KwisWCiEFEulnKQZc"},{"type":"paragraph","children":[{"type":"text","text":"4、连横连竖训练","id":""}],"text":"","id":"doxcnyweIYkaagWIkILgsisFWEg"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/3589c8e6502b470494617bcdb9cf4af7","width":480},"text":"","id":"doxcn4OYUciQs0USowBABzZ8XOg"},{"type":"paragraph","children":[{"type":"text","text":"5、横竖横相连训练","id":""}],"text":"","id":"doxcnuAAeCU8OWKGiIVrQ9aLwMe"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9c573491b5204df3adfbd0ba8a771d1b","width":480},"text":"","id":"doxcnIO4oWE4u46s40qSvOQLhXb"},{"type":"paragraph","children":[{"type":"text","text":"6、其它笔画相连的训练","id":""}],"text":"","id":"doxcnaWgUwOiOKcM8TdaFb5XZyu"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通过具体字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/214447e754f443ab8c114397b2c86668","width":480},"text":"","id":"doxcnMooiQWsykgES1vrhkhJmyw"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"毛笔行书","i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text":"练习行书在开始的时候有一个适应的阶段熟能生巧从一个字到一段字从几个字、一行字到一篇字逐渐掌握行书的规律慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养名人题字商家牌匾学校老师甚至是同学之间只要认真观察都可以找到别人写的好字学会了就成了自己的字。","id":""}],"text":"","id":"doxcno6scGs40mgUwMPZyth6jQf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"行书技巧","id":""}],"text":"","id":"doxcnGgMkWIswy4aWI9CKClG7Yc"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"增加钩挑与牵丝","id":""}],"text":"","id":"doxcnSOIwy6gug2yiILhCRiOt6b"},{"type":"paragraph","children":[{"type":"text","text":"楷书书写要一笔一画、工工整整行书则不然是将点画连起来书写即所谓“相间流行”所以行书书写时在点心之间自然地出现或增加了由于用笔带出来的钩挑和牵丝。所谓钩挑是在原来没有钩挑的点画上行笔时顺势写出来短钩如“茂”等字。所谓牵丝则是在前后或上下笔本不相连的点画之间顺笔势带出来细细的牵丝如“发”“想”等字。在行书的点画之间有了钩挑与牵丝则显得笔势流动通畅和谐意态自然给人一种生机勃勃的感觉。","id":""}],"text":"","id":"doxcneoSwSyoMioA4QJLpgKMPgh"},{"type":"paragraph","children":[{"type":"text","text":"注意：","id":""}],"text":"","id":"doxcnEMm0Wiim0aYio9EpLvmFuc"},{"type":"paragraph","children":[{"type":"text","text":"钩挑与牵丝不能使用太多太弱用多了到处都是钩挑与细牵丝显得用笔不干净利索造型不美观；太弱了钩脚如肉瘤细丝如棉线显得软弱无力缺乏铁画银钩之健美。","id":""}],"text":"","id":"doxcnakEyKiscmICk0G1mqmDlhe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以圆转代方折","id":""}],"text":"","id":"doxcniqCwKOsae0wOagvh8GZHDh"},{"type":"paragraph","children":[{"type":"text","text":"行书转折处多采用草书圆转的写法所以行书才显得笔势流畅。但需注意行书的圆转中隐含着折意写时仍需要驻笔、提按否则圆润而无力缺乏方圆兼备方中有圆圆中有方之妙趣如“后”、“落”、“生”等字。","id":""}],"text":"","id":"doxcnQkQiuCyiM28aC6EesvkF2d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"改变书写笔顺","id":""}],"text":"","id":"doxcnaEIAc6086uaKIzU1Jth3wg"},{"type":"paragraph","children":[{"type":"text","text":"小学老师安防调写字注意笔顺这确实是很重要特别是楷书。然而在行书中有时有意识地改变楷书的书写笔顺而采用草书的笔顺其目的是便于书写同时也是为了造型的变化多姿如“感”字。","id":""}],"text":"","id":"doxcnsusswkMGSWC8Mpqp9aoQHg"},{"type":"paragraph","children":[{"type":"text","text":"注意：","id":""}],"text":"","id":"doxcni08AcWw4cCOcuu7P5wB9Vb"},{"type":"paragraph","children":[{"type":"text","text":"一般地说行书写法也足先上后下先左后右先内后外但有时却反其道而行之倒也别有风趣如“风”“国”字等但也必须注意改变书写笔顺一定要因势利导要合乎草书的规范。且不宜多偶见则收方能成趣如果滥用成灾使人乏味就失败了。","id":""}],"text":"","id":"doxcnugsYwQYcGMKSWYp4jcFAFe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"用笔灵活","id":""}],"text":"","id":"doxcnwiqGgAwkW22yeI4Qcpwe0d"},{"type":"paragraph","children":[{"type":"text","text":"行书比楷书用笔灵活多变同样的点画可以这样写可以那样写不受约束。如“也”字的浮鹅钩一般是回锋收笔而出。但如果勾端由上翻笔而下也可以。又如木字旁一般是写好横画和竖画后、笔势总是从左边带出撇挑但从右边挑笔而上然后顺笔就势写出撇挑也有道理。如“杨”字。","id":""}],"text":"","id":"doxcnyKs安防8ee886g2vkKvARPab"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"起笔露锋入纸","id":""}],"text":"","id":"doxcnoACYOUOiIiWEG48WX0lrwf"},{"type":"paragraph","children":[{"type":"text","text":"楷书无论是点、横还是撇、捺都","id":""},{"type":"text","text":"安防调","id":""},{"type":"text","text":"减锋为主。而在行书中起笔处以露锋人纸为多因为露锋人纸书写起来比较简捷方便自然流畅例如“生”字的左竖“红”字的撇画及“工”字横画的起笔“河”字三点水的侧点等都是露锋人纸。然而必须说明的是上面所说的字虽然都是露锋人纸但不是随便的顺锋搭下一写而是仍要“逆锋”只是这个“逆锋”是要求凌空取势即抢锋。不理解这一点就会犯落笔尖细软弱的毛病。","id":""}],"text":"","id":"doxcnIkGAgMgMogY安防Hi9Fm9I7f"},{"type":"paragraph","children":[{"type":"text","text":"注意：","id":""}],"text":"","id":"doxcnEsugOog0QCUmEz5OzjipPg"},{"type":"paragraph","children":[{"type":"text","text":"露锋入纸取势要求要快写出字来笔意就生动活泼．而藏锋取势较慢笔意含蓄凝重。这两种写法各有所长我们书写时相互结合掺用这样可以各得其所相得益彰。一般说行书开头的起笔往往是露锋入纸而以下的承笔处则多数是藏锋用笔。","id":""}],"text":"","id":"doxcnKIU0WQsqimACgZ0Ooo19Bb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以点代替其他笔画","id":""}],"text":"","id":"doxcnGqaGISWekSeeyqOdiMEZxf"},{"type":"paragraph","children":[{"type":"text","text":"为书写简便敏捷行书常常以“点”来代替其他笔画以短小的“点”代替其他较长大的笔画可以使字的结构形态发生变化造型更为别致。如将“京”“影”字中的“小一字改写为三点则更敏捷字型发生了变化显得饶有趣味。又如“大”字将捺笔写成侧点来表示这样书写起来简捷流畅造型也显得精悍朴实别具风味。","id":""}],"text":"","id":"doxcn0guAa安防MWw2mW6V1Fkftvf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"体态多变","id":""}],"text":"","id":"doxcnKUgaEECkg4EMqauIuJBL1c"},{"type":"paragraph","children":[{"type":"text","text":"行书是介于楷书与草书之间的一种兼工带写的字体它的使用范围很广表现力丰富常常一个字有几种写法体态多变姿态各异如“是”字有四种写法四个姿态结尾收笔各有不同有收有放亦工亦草情趣盎然。再如“英、落、草、奠、花”同是草字头但写法各不相同生动活泼耐人寻味。如果同样的字或是字头字尾相同的字写得千篇一律没有变化使人看了乏味那就不称其为书法了。","id":""}],"text":"","id":"doxcnaqOa8kqk2k6Qovm6Ldj4nc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"运笔的技巧","id":""}],"text":"","id":"doxcneeqI0ywusu4czoZH24FIOi"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"中锋行笔","id":""}],"text":"","id":"doxcneGuIc0uocgIsGuGt1mGzAg"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcngUEA42saWscQpHIIosixu5"},{"type":"image","attrs":{"height":109,"note":[{"type":"text","text":"中锋行笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b9fc9b409a5e45919ad0a4e8f23b622e","width":300},"text":"","id":"doxcngia4yI2662Myauvwn49odc"},{"type":"paragraph","children":[{"type":"text","text":"中锋行笔就是要使笔锋保持在点画中间行笔。中锋行笔是用笔的关键是书法的生命。要能达到中锋行笔就要在行笔时掌握好掌竖、腕平、笔杆直同时还要随着墨液缓缓下流而不断调正笔锋“令笔心常在点画中行”。篆、隶、楷书是这样行书亦如此如“乎”、“本”字除落笔和收笔外中间所有的点画都是中锋行笔“华”字亦是。","id":""}],"text":"","id":"doxcnMCWIcEGcuygcUhofpEsxbg"},{"type":"paragraph","children":[{"type":"text","text":"划重点：中锋行笔笔迹圆润、道劲妍美。","id":""}],"text":"","id":"doxcnQYkSEiW4EUscgj9N5R4AHg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"裹锋转笔","id":""}],"text":"","id":"doxcngMw6w8M2QwuY4jbqRnMirb"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnM0k68egCko2YICE5uZuMKu"},{"type":"image","attrs":{"height":111,"note":[{"type":"text","text":"裹锋转笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a3f1f74ba91440eca160f080908baf98","width":280},"text":"","id":"doxcnMuE426Cu安防86su3N3cMtob"},{"type":"paragraph","children":[{"type":"text","text":"所谓裹锋转笔即是在转折处用笔使毫不能太铺要有所收敛同时笔杆要稍加使转以圆转代替方折如“思”、“里”、“风”字的转角处即是。行书之所以比楷书书写简便其中一个原因就是以圆转代替方折。裹锋转笔转折处玲珑流利有一种活泼、自然的流动感。蔡邕在《九势》中所说的“转笔宜左右回顾无使节目孤露”就是指裹锋转笔。但要注意裹锋转笔处必须圆转中隐含折意故书写时仍需驻笔、提按否则圆而无骨缺乏方圆兼备之妙趣。","id":""}],"text":"","id":"doxcnQu46uQc0ym0gkP5tazpsZb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"折锋转笔","id":""}],"text":"","id":"doxcngS4cYso6m2YOcbOPSqH22e"},{"type":"image","attrs":{"height":110,"note":[{"type":"text","text":"折锋转笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e66bd61b140d4bc6904346a18fdde97a","width":280},"text":"","id":"doxcnowgQuu48qgiiQdPTWhB3ng"},{"type":"paragraph","children":[{"type":"text","text":"所谓折锋转笔即转笔时如同写楷书一样先提后折顿笔后再调锋而下只是书写速度略快些转折处投有楷书那么方折而是既看出是方折之意又有圆浑之感有骨有肉骨肉兼备即所谓“方中有回圆中有方”。使人看了圆润、浑厚、劲挺。欲如此则折锋转笔处要有方折的意味折时要重些轻重提按要一笔小苟不能一笔带过。折锋转笔写出来的折画不仅要方而见骨而且要给人一种风骨挺立神采飞扬的感觉。如“曲”“故”“总”字。","id":""}],"text":"","id":"doxcn8wyoa6qcOS8Ql9BXBPfwbw"},{"type":"paragraph","children":[{"type":"text","text":"划重点：行书中的折笔写法不外折锋转笔和裹锋转笔两种用笔。折锋转笔外露裹锋转笔内含各有千秋但一般说在行书中以裹锋转笔为主折锋转笔为辅。","id":""}],"text":"","id":"doxcnSuc4QYgOSeSiw3GsR6rf5d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"衄锋勒笔","id":""}],"text":"","id":"doxcnCCSkiC0sgsoAQHudlfnOnh"},{"type":"image","attrs":{"height":116,"note":[{"type":"text","text":"衄锋勒笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ee8921fbd2e24f41bee540a4ea86cb3b","width":280},"text":"","id":"doxcnIuoC8QGaG8ckCkeRkIAxdh"},{"type":"paragraph","children":[{"type":"text","text":"衄锋勒笔就是点画中间稍用力顿挫一下再中锋勒笔而出。衄锋勒笔大多数是用在反撩与撇的交接处如“又”、“文”、“交”字的反捺中间用笔。衄锋勒笔用笔收敛蓄势短小精悍而形态也有变化。这种用笔米芾书法中常用。","id":""}],"text":"","id":"doxcnk6Q0UwySuKaWiAzqUyGUjc"},{"type":"paragraph","children":[{"type":"text","text":"划重点：衄锋勒笔在衄锋时要有力勒笔处要迅速捺画末笔要收得住。","id":""}],"text":"","id":"doxcnG8CMY4Ye22AKIHeQrF9Abd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"提锋连笔","id":""}],"text":"","id":"doxcnuIWimwEq2安防mmnFHSUH1qd"},{"type":"image","attrs":{"height":122,"note":[{"type":"text","text":"提锋连笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b8816a1af38948ea9a5bf430e6208ec6","width":280},"text":"","id":"doxcnq0A0AmEIo0Uqao9WVG9P8b"},{"type":"paragraph","children":[{"type":"text","text":"提锋连笔即提笔连锋也就是在点画相连处用笔提而不断锋尖着纸带出牵丝。凡是点画间有牵丝相连者都是提笔连锋用笔。这种用笔的好处是：“是点画处皆重非画处偶相牵引其笔皆轻。”（姜夔《续书谱》）且主次分明叉递相映带如","id":""},{"type":"text","text":"“墨”、“照”、","id":""},{"type":"text","text":"“然”的点画牵引处。","id":""}],"text":"","id":"doxcnO4ksAMciK6CwiGcmqcHKJf"},{"type":"paragraph","children":[{"type":"text","text":"在书写过程中提和按连和断互为辩证的关系。提锋连笔是牵丝的写法非牵丝处都是字的实画。我们在学习过程中一定要注意用笔要实不能虚用笔要按不能提。只有按得下方能提得起只有实是实方能虚是虚。","id":""}],"text":"","id":"doxcnA84wuMOIoiSsi6Dopt0Xoe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"字组黄金法则","id":""}],"text":"","id":"doxcnCgiGA8W6kM2SkL0gdQzkRg"},{"type":"paragraph","children":[{"type":"text","text":"书法的形式是各种造型的组合关系。例如点画与点画的组合、结体与结体的组合、字组的组合、行的组合、区域的组合直至笔墨与空白的组合等。这些组合从小到大随着组合关系的不断扩大审美内涵也逐渐丰富。","id":""}],"text":"","id":"doxcn4oaEoKI4UQYEIJH05D2rVU"},{"type":"paragraph","children":[{"type":"text","text":"行书的结构和章法的规则要求主要是：结体大小轻重要适当长短纵横要合度疏密黑白要相称左右欹正相呼应使之错落变化气势贯通协调统一神定气足。","id":""}],"text":"","id":"doxcnsaiImSecgksk8cz3YH93ec"},{"type":"paragraph","children":[{"type":"text","text":"以米芾的《苕溪诗帖》为例子来窥探米颠他这部旷世作品里常见字与字之间的呼应的关系进行一个简单的总结和归类。","id":""}],"text":"","id":"doxcn0k0GoAkk4M0iuGds7YbXjh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"欹正组合","id":""}],"text":"","id":"doxcni0IM0WgG6uWwOcCtdiZNGb"},{"type":"paragraph","children":[{"type":"text","text":"欹正是指部分偏旁、部首或局部作倾斜、欹侧处理又能倾而不倒平中寓奇增加字的变化和意外的奇趣。欹正得体就是说歪的与正的阴阳配合到完美指字写的很完美。","id":""}],"text":"","id":"doxcnecmUemeyK40OCY8jRsbSsg"},{"type":"image","attrs":{"height":546,"note":[{"type":"text","text":"欹正组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/178baa7a39ff4180878c9ed9d61495ac","width":318},"text":"","id":"doxcnEscwYay0OiS6k37NVA6jvg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"浓淡组合","id":""}],"text":"","id":"doxcnGqScguEQ08IGoPL2bznMkf"},{"type":"paragraph","children":[{"type":"text","text":"书法是通过墨来表现的墨法是书法的四大要素之一被书家重视。墨色的变化一般有“浓、淡、干、湿、涨”。作品中的墨色的深浅枯润可以造成雄奇或秀媚的书法意境。","id":""}],"text":"","id":"doxcnUme0EWuA8cSuApvrE9e3Td"},{"type":"image","attrs":{"height":568,"note":[{"type":"text","text":"浓淡组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e39795a3e25a4b60a9daf8c4009042ba","width":286},"text":"","id":"doxcnMMAiMamqmsyC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