oris手表是名表嗎(oris是什么牌子的手表2016年款)
來源：Watch手表之家 發(fā)布時(shí)間：2024-02-11 13:23:041. oris是什么牌子的手表2016年款
alersh手表是豪利時(shí)品牌,瑞士制表品牌,質(zhì)量還可以吧，性價(jià)比比較高。中高端檔次
2. 手表oris是什么品牌
oeis是豪利時(shí)表，隸屬于豪利時(shí)一種款式的腕表。
豪利時(shí)（Oris），瑞士獨(dú)立制表品牌。二十世紀(jì)初，Cattin和Christian兩人在設(shè)立了豪利時(shí)制表工廠。第二次世界大戰(zhàn)時(shí)，豪利時(shí)為美國(guó)空軍及領(lǐng)航員設(shè)計(jì)了大表冠手表，從而成為著名品牌。1904年以來，豪利時(shí)堅(jiān)持以傳統(tǒng)的瑞士工藝創(chuàng)制真正完美的機(jī)械腕表，深受年青一代喜愛。豪利時(shí)的機(jī)械時(shí)計(jì)系列備有多款特別的設(shè)計(jì)，滿足不同人士的需求，像指針式日歷指示，小三針及鬧鐘等。
3. 手表品牌oris
oris手表是瑞士著名手表品牌豪利時(shí)手表。創(chuàng)立于1904年的豪利時(shí)是一個(gè)優(yōu)秀的瑞士鐘表品牌，手表設(shè)計(jì)風(fēng)格較為硬朗，其中以航空系列和文化系列比較出名。豪利時(shí)英文名為ORIS。是很不錯(cuò)的瑞士表。從1904年創(chuàng)立至今，豪利時(shí)手表憑借獨(dú)特隨意卻又不失典雅的風(fēng)格，深受年輕一代喜愛。oris手表在大牌腕表云集的市場(chǎng)上應(yīng)該屬于中等水平。用ETA基礎(chǔ)芯的平價(jià)貨，但質(zhì)量有保證，正宗廠家品牌，價(jià)位多數(shù)萬元以下，為玩表人的基本款式。
4. or開頭的手表品牌
不管什么品牌。表上面有AAA這種標(biāo)簽的就是假表的意思。 還有假表特征就是在表鏡上面貼著藍(lán)寶石字樣。 這也是只有假表才會(huì)去這樣貼的。 正品完全不會(huì)有上面兩種標(biāo)簽。
5. orasi是什么牌子的手表價(jià)格
行書，又稱“行押書”，也稱“藁書”，是介于楷書和草書之間的一種書體。楷書稍加連貫，點(diǎn)畫略帶呼應(yīng)，就是行書。行書寫起來比楷書快，又比草書容易識(shí)認(rèn)，所以是應(yīng)用最廣的書體。它既實(shí)用，又美觀，寫起來便捷。
行書分類
行書大致以其作品所具有的楷書和草書成分，劃分為兩類：作品中楷書成分較多的稱之為行楷或楷行、真行：作品中草書成分較多的則稱之為行草或草行。
硬筆行書
書寫姿勢(shì)
正確的書寫姿勢(shì)不只是為了好看，還可以使書寫技能得到充分、有效地發(fā)揮，有助于書寫者的身心健康。書寫姿勢(shì)同時(shí)也反映出書寫者的修養(yǎng)，只有身正才會(huì)字正。正確的姿勢(shì)應(yīng)是頭正、身直、肩平、胸舒、臂開、足安。（如下圖）
1、頭部端正：頭要居中，稍向前下方俯視，眼睛與紙面一尺距離，不可俯得太低，也不可左偏、右斜。
2、身直肩平：臀部平坐于椅子中間大部，不能扭向一邊，兩肩平齊，上身不彎曲，使上身重心安穩(wěn)。
3、臂開胸舒：兩臂自然開張，兩肘平放桌面，保持一線，腹背挺直，胸口與桌沿保持一拳距離，使呼吸順暢。
4、腿開足安：兩腿分開，與肩同寬，自然下垂，內(nèi)側(cè)保持平行，兩腳平放地上，使全身平衡。正確的書寫姿勢(shì)，才能使字寫得端正，重心平衡。同時(shí)，正確的姿勢(shì)也會(huì)給人的身體帶來益處。
執(zhí)筆方法
執(zhí)筆方法不正確，不但妨礙書寫姿勢(shì)，影響書寫質(zhì)量，還會(huì)給書寫者身心健康帶來危害，不可忽視。根據(jù)筆的自身特點(diǎn)，硬筆是三指執(zhí)筆法，斜拿。
正確的執(zhí)筆方法：
①用拇指、食指、中指三個(gè)指頭捏住筆桿（三指處于同一平面）；
②指尖距筆尖約2.5cm~3cm（兩指左右）；
③所有指關(guān)節(jié)都向外彎；
④筆桿位于食指的根部（如下圖）。
同時(shí)，還要做到：
①指實(shí)：拇指、食指、中指來自三方的力量，處在與筆桿垂直的同一圓角上，將筆桿夾牢，松緊適度。
②掌虛：無名指和小指緊隨中指下部依次靠攏，并向掌心彎曲、虛握。小指的整個(gè)底部形成一個(gè)環(huán)形底座，虛貼桌面。
③桿斜：筆桿向右后方傾斜，緊靠在食指第三關(guān)節(jié)與虎口方向，與桌面呈45°角。如果寫較大的字，手指向前伸直，筆桿與紙面角度減小；書寫較小的字手指向掌心收縮，筆桿與紙面角度大，宜于精離細(xì)琢。
練習(xí)方法
選筆
鋼筆
具備一支書寫流暢的鋼筆，是開始練習(xí)行書的基礎(chǔ)條件。眾所周知，隨著技術(shù)的發(fā)展進(jìn)步，簽字筆已經(jīng)深入到社會(huì)生活的各個(gè)方面，我們?cè)诮^大部分時(shí)候都是使用簽字筆來寫字，使用鋼筆的時(shí)候比較少。但是想要練習(xí)好行書，則必須要有一支書寫流暢的鋼筆。鋼筆不同于簽字筆，它可以更好地適應(yīng)行書的書寫順序，保證書寫出來的行書更加漂亮。明尖筆，彈性略大一點(diǎn)，筆畫變化稍大，更適合書法。
推薦鋼筆
適合練字的鋼筆，日筆應(yīng)該比歐筆更適合一些。推薦白金3776，百樂78G，寫樂21K等。
選字帖臨摹
買一本包含常用字在內(nèi)的行書字體進(jìn)行模仿練習(xí)是練習(xí)行書的基本方法。我們常說先學(xué)會(huì)走路再學(xué)會(huì)跑，如果還沒有學(xué)會(huì)走路是不可能學(xué)會(huì)跑的。練習(xí)行書也是如此，首先是要學(xué)會(huì)名家的習(xí)作，學(xué)會(huì)他們的書寫方式，照著樣子先臨摹、描紅，然后再過渡到自己來練習(xí)書寫。在具體選擇的時(shí)候，一定要選用包括常用字在內(nèi)的字帖，這樣更加有利于今后的具體實(shí)踐使用。
適合練習(xí)的字帖推薦以下啟功《論書絕句百首》、梁鼎光的《鋼筆臨帖》、田英章老師的字帖、顧仲安的字帖。
堅(jiān)持練習(xí)
寫好行書并非一朝一夕之功，需要長(zhǎng)時(shí)間的練習(xí)才能成功。對(duì)于初學(xué)者來說，如果有一定的書法基礎(chǔ)，可以很快上手練習(xí)行書。如果還沒有練習(xí)其他字體的書法基礎(chǔ)，最好是先練習(xí)正楷字、鋼筆字然后再過渡到行書的書寫，這是學(xué)習(xí)的一個(gè)循序漸進(jìn)的過程。因此，練習(xí)行書沒有捷徑可以走，有的就是每天堅(jiān)持練習(xí)，持之以恒地堅(jiān)持下去。一般來說，有一年左右的時(shí)間就可以書寫出一手漂亮的行書。
連筆意識(shí)訓(xùn)練
通過筆畫練習(xí)
要寫好硬筆行書，首先要了解行書的運(yùn)筆特點(diǎn)，即行書是流動(dòng)的楷書，它的基本筆畫就反映了這一特征。因此，我們通過基本筆畫訓(xùn)練，逐漸掌握行書運(yùn)筆要領(lǐng)，為寫好行書奠定基礎(chǔ)。
1、點(diǎn)畫：行書點(diǎn)雖小，但很重要，起著筆畫的起止、過渡、裝飾、承上啟下、畫龍點(diǎn)睛的作用。點(diǎn)有獨(dú)立點(diǎn)、組合點(diǎn)兩種。
獨(dú)立點(diǎn)，寫法如楷書筆畫中撇點(diǎn)，右下頓筆由輕到重轉(zhuǎn)向左下，方向視下一筆畫起筆位置而定。
組合點(diǎn)，橫式排列、豎式排列，重點(diǎn)體現(xiàn)出點(diǎn)與點(diǎn)之間的呼應(yīng)關(guān)系。
2、橫畫：行書橫畫在字中起平衡作用，隨意性大，起、收筆變化多端，短橫有時(shí)處理成點(diǎn)，數(shù)橫并存忌平行劃一，要姿態(tài)各異。
短橫：起筆輕，收筆重，末端收筆可向左下勾出，以呼應(yīng)下一筆。
長(zhǎng)橫：起筆向左下輕落筆，快而有力向右運(yùn)筆，駐筆后左下方出鋒運(yùn)筆中間輕、兩頭重。
3、豎畫：豎畫有左豎、右豎、短豎、懸針、垂露之分。左豎向右上回鋒與下筆呼應(yīng)；右豎向左下出鋒引帶下畫。
懸針豎：垂直書寫，出鋒不可隨意甩出，以免輕浮。
垂露豎：收尾呈露珠狀，但不一定垂直，往往左側(cè)向左凸，右側(cè)向右凸。
4、撇畫：撇在字中是支撐重心作用，具有較強(qiáng)的運(yùn)動(dòng)感，其特點(diǎn)飄逸勁健，靈動(dòng)活潑。
小撇：乃字之精神，寫法與楷書同。要注意長(zhǎng)短、粗細(xì)及筆的走向，出鋒銳利。
長(zhǎng)撇：中間部分要粗些，但勿過分，筆法與楷書同。
回帶撇：起筆、中間部分與楷同，只是收筆處回鋒出鉤，以連帶下面筆畫。
5、捺畫：在字中支撐字的重心，姿態(tài)飄逸，一波三折，給人以流動(dòng)的美。
斜捺：由輕到重再輕收筆出鋒，與左撇呼應(yīng)，行書中亦可寫成反捺或捺點(diǎn)：
平捺：寫法同捺，關(guān)鍵把握好它的角度和長(zhǎng)短。
6、鉤畫：鉤畫種類繁多（豎鉤、橫鉤、臥鉤、斜鉤、彎鉤、豎彎鉤、橫折鉤、橫折彎鉤等），要做到穩(wěn)重而有氣勢(shì)，體現(xiàn)出內(nèi)在力量。
橫鉤：逆勢(shì)起筆與上筆遙相呼應(yīng)，轉(zhuǎn)角處不必像楷書那樣嚴(yán)格，但要有力；
豎鉤：豎垂直鉤處多變，可向左上勾出，亦可作左下方出鋒。
7、折畫：折畫一般在字的外圍，對(duì)字包圍之勢(shì)，書寫要有力度，筆勢(shì)內(nèi)聚，使字不散。
豎折：由上至左下快速落筆，蓄勢(shì)向右上方徐徐運(yùn)筆，中間微上凸；
橫折：起筆重落，徐向右運(yùn)筆，拐彎處快速向下彎去，至收筆處稍駐。
8、提畫：提畫尖銳挺拔，勁健有力，能增加字的力度和速度，美觀。可分為短提、長(zhǎng)提、撇提。
提：行書提起筆由上而左下迅速落筆，稍駐回筆向右上方迅速挑出，出鋒尖利。
通過偏旁部練習(xí)
偏旁部首是筆畫的初步組合，雖然行書沒有一定書寫規(guī)則，但筆畫走向卻有相對(duì)固定寫法。因此，我們依照人們的書寫習(xí)慣，約定俗成的寫法來領(lǐng)會(huì)，并舉一反三。
一、偏旁部首的練習(xí)
二、偏旁部首在字中不同位置的變化寫法訓(xùn)練
偏旁部首出現(xiàn)于字的上、下、左、右、里、外不同位置時(shí)，寫法也不盡相同，使得漢字書寫千變?nèi)f化。我們了解了這些變化要領(lǐng)，就可以觸類旁通，掌握書寫規(guī)則，熟習(xí)它們的變化規(guī)律，舉一反三，就可收到事半功倍的效果。
1、土部在左時(shí)豎畫偏右，下橫改提以讓右；在字右部時(shí)，兩橫間距拉開：在字上、下時(shí)，兩橫間距緊湊，避免結(jié)構(gòu)松散。
2、火部在字左側(cè)斜撇改為豎撇，捺變點(diǎn)收縮；居字上部筆畫收縮，改捺為點(diǎn)；如在字右部或下部撇捺向兩邊伸展。
3、木部在左時(shí)橫短豎長(zhǎng)且偏右，捺改點(diǎn)；在右時(shí)橫短豎長(zhǎng)，撇捺伸展；在字上豎較短，撇捺張開；在字下橫畫長(zhǎng)，豎帶鉤，撇捺改點(diǎn)。
4、日部豎畫柔和自然，橫折與豎畫協(xié)調(diào)，中橫居中不要太滿，底橫不可超出右豎。作左偏旁時(shí)較窄；在字右部地位適中。
5、月部豎撇較長(zhǎng)，里面兩橫偏上不寫滿。月旁在左寫得瘦窄些；在右側(cè)寫得豐滿些。
6、方部點(diǎn)斜取勢(shì)，橫與點(diǎn)保持間距，彎鉤重心。方在左橫畫右邊不能長(zhǎng)；在字下部點(diǎn)與橫相交。
7、石部在左位置偏上，字形略小，以讓右；在字下部要橫長(zhǎng)撇短；品字結(jié)構(gòu)要上正左小右大。
8、耳部筆順先橫后豎再三橫，在字左懸針改垂露，下橫變提在右側(cè)稍豐滿些；居字上部懸針短。
9、米部在字左側(cè)時(shí)橫短豎長(zhǎng)，捺變點(diǎn)；在字右邊撇捺伸展；居字上部豎畫的下部短；在字下部，豎畫的上部短。
10、禾部用作左旁，撇橫間距拉開，豎偏右，捺改點(diǎn)；在右時(shí)，左撒收縮以讓左；禾部在字上寫法有兩種：①下部伸展，禾部收縮；②下部收縮，則禾部散捺伸展。
總之，筆畫之間要遵循上、下、左、右伸縮，高、低、顧、盼照應(yīng)的規(guī)律。 三、相似偏旁部首的區(qū)別訓(xùn)練 行書寫法簡(jiǎn)省筆畫，再加之勾挑、牽絲相連，從而出現(xiàn)一些相似部首容易混淆。
因此，我們有必要對(duì)其分析，找出規(guī)律、異同，掌握正確的書寫方法。 1、言字旁和三點(diǎn)水二者主要區(qū)別在第二筆。言字旁橫折提的橫折處實(shí)、重；三點(diǎn)水第二筆為右點(diǎn)收筆與第三筆虛連、輕。
2、提手旁和牛字旁都是一筆完成。區(qū)別是提手旁第一筆為橫，牛字旁是撇折，因此，提手旁第一筆逆勢(shì)過大很容易寫成牛字旁。
3、木字旁與反犬旁區(qū)別：
①第一筆筆畫和筆勢(shì)不同，木旁為短橫，由左至右上挑，反犬旁為撇，由右上至左下再上覆連彎鉤。②第二筆木旁為豎，筆勢(shì)直；反犬為彎鉤，筆勢(shì)弧形。
4、奉字頭與卷字頭區(qū)別在首筆，奉字頭是橫，卷字頭為合兩點(diǎn)，如將合兩點(diǎn)寫得過近，連絲過粗，近似短橫，則二者就相像了。
5、四字頭和血字底筆畫、筆勢(shì)相同，區(qū)別在最后一橫。四字頭橫畫縮在左豎與右折鉤內(nèi)，而血字橫將二者托起。
6、立字旁和足字旁下部完全一樣，不同點(diǎn)在上部：立旁是右點(diǎn)加斜橫，足字旁是口為首，只要筆畫與牽絲交待清晰，二者不難分辨。
7、示字旁與禾字旁區(qū)別在于起筆不同：示旁右點(diǎn)帶鉤呼出橫畫，禾旁為小撇，呼出橫畫；橫豎畫轉(zhuǎn)接處不同，示旁在下部，禾旁在上部。
8、貝字旁與欠字旁運(yùn)筆方法基本相同。要區(qū)分二者，第一、欠旁起筆為撇而且較長(zhǎng)，撇出后回筆短；貝旁起筆豎且短，回鋒長(zhǎng)。第二、欠旁是撇折鉤，彎頭小；貝旁是豎彎折，彎頭大。
9、左耳旁和右耳旁筆畫、筆勢(shì)完全相同，區(qū)分在于左耳旁不封口，豎為垂露且短些；右耳旁封口，豎為懸針且稍長(zhǎng)。
10、絞絲旁與雙人旁二者最大區(qū)別是雙人旁第二筆為撇，之后筆不離紙由撇原路返至中間作豎向右上回鋒，意連下一筆；絞絲旁折筆處是兩弧形，無撇畫、豎畫，收筆回鋒斜上作提。
通過具體字訓(xùn)練
筆畫與偏旁是結(jié)字的基礎(chǔ)，最終要結(jié)合成端莊、美觀、令人賞心悅目的漢字。我們從思想上要有筆畫之間是流動(dòng)的，不是僵死的；筆畫之間是呼應(yīng)的，而不是孤立的這種連帶或筆斷意連意識(shí)。
1、連橫訓(xùn)練
2、連豎訓(xùn)練
3、豎連橫訓(xùn)練
4、連橫連豎訓(xùn)練
5、橫豎橫相連訓(xùn)練
6、其它筆畫相連的訓(xùn)練
毛筆行書
基本技法
筆法
筆法指執(zhí)筆和用筆，寫行書的人一般都練習(xí)過楷書，所以執(zhí)筆和用筆都有了基礎(chǔ)。但是，行書的筆法比楷書要豐富得多。要做到中鋒用筆，方圓兼?zhèn)洌小?cè)鋒并用，點(diǎn)畫之間以牽絲映帶、似連非連、筆斷勢(shì)連的形式貫通氣脈。
點(diǎn)畫寫法
行書點(diǎn)畫要注意呼應(yīng)，同時(shí)應(yīng)在平整中取攲側(cè)之勢(shì)，在勻稱之中得疏密之形，使之變化多姿，特別要注意的是，牽絲往來要有筆斷意連之妙，運(yùn)筆快慢要得疾澀相生之意。圓轉(zhuǎn)處要?jiǎng)艢鈨?nèi)斂，方折處要如削金斷玉，明快潔凈。
結(jié)構(gòu)
行書結(jié)構(gòu)千變?nèi)f化，但基本原則是要重心平穩(wěn)，變化自然，顧盼呼應(yīng)。行書多用奔放之筆取攲側(cè)之勢(shì)，但無論如何奔放也要重心平穩(wěn)，特別是攲側(cè)中站穩(wěn)重心，這種奇正相成的結(jié)構(gòu)是行書的特點(diǎn)。行書多變化，變化要順乎自然。字行大小、疏密、長(zhǎng)短、伸縮、開合、俯仰、向背等自然之行，初寫時(shí)要盡各字真態(tài)、本色，切忌故意造作，制奇弄險(xiǎn)，走入流俗，能得自然之美方是真本領(lǐng)。至于點(diǎn)畫之間顧盼生情，相互呼應(yīng)要如聞其聲，則字字都活潑而有生氣了。
章法
行書章法多用縱有行、橫無列，或縱無行，橫無列兩種。字與字之間要有內(nèi)在聯(lián)系，行與行之間要有意態(tài)呼應(yīng)。不必故意筆筆相連，貴在氣息貫注，筆斷意連。通篇字的大小變化、疏密對(duì)比、伸縮之宜都要合乎自然，章法要如音樂之旋律，如詩(shī)詞之有聲律。詩(shī)詞的“平平仄仄平平仄”抑揚(yáng)頓挫，一如行書的疏密奇正伸縮，對(duì)比中求和諧，對(duì)立中求統(tǒng)一。雖是“疏可跑馬，密不容針”，仍要密不迫塞，疏不散漫，總之要渾然一體，一氣呵成，無意之佳為最妙。
練習(xí)方法
選筆
初學(xué)者在書寫行書時(shí)，不論是行草還是行楷，因?qū)γP的使用以及落筆的輕重緩急尚未把握，可以選擇兼毫來使用，兼毫兼具了硬毫和軟毫的優(yōu)點(diǎn)，較為容易上手，而且使用兼毫吸墨量適宜，不會(huì)導(dǎo)致初學(xué)者在書寫行書時(shí)停頓出現(xiàn)墨水團(tuán)影響紙面。
挑選毛筆是挑毛尖。筆頭要尖、齊、圓、鍵，即：筆頭的鋒穎既尖銳似錐又要圓潤(rùn)，筆頭既要修削整齊，筆尖又要豐滿，富有彈性。一般筆桿多用鳳尾竹、湘妃竹、花竹、紫竹制成。挑選筆桿時(shí)要看筆管是否圓正光滑，不癟、不裂、不彎、不斜，長(zhǎng)短適度。筆桿上有篆刻的，要看它是否鐫秀清晰；有鑲嵌的，要看是否曲雅古樸。最后，要看筆頭與筆桿是否粘牢，筆頭有無發(fā)霉、蟲蛀現(xiàn)象。先用手輕輕晃動(dòng)筆頭，不能出現(xiàn)松動(dòng)現(xiàn)象，再輕輕彈筆桿，看是否有掉毛，有毛掉睛，不是蟲蛀，便是發(fā)霉。檢查毛筆筆頭是否發(fā)霉，還可以聞聞?dòng)袩o霉味。
選字帖臨摹
(1）挑選字帖。挑選一本孩子比較喜愛的、點(diǎn)畫比較工整的、結(jié)體比較勻稱的字帖來臨摹。毛筆字帖，應(yīng)挑選字體小一點(diǎn)的字帖，這樣可省去縮小的工夫。
(2）先摹后臨、臨摹結(jié)合在習(xí)字時(shí)，要先摹后臨、臨摹結(jié)合。毛筆照著字帖上的字一點(diǎn)一畫地描紅。要求寫的筆跡不要越出字帖字外，都寫在字帖上字的點(diǎn)畫中間。這樣，久而久之，就容易學(xué)到字帖上字的結(jié)構(gòu)。所謂臨，就是把字帖放在習(xí)字紙旁；照著帖上的字依樣畫葫蘆。要求點(diǎn)畫寫得象，有輕重節(jié)奏和粗細(xì)的變化。這樣，久而久之，就容易學(xué)到字帖上字的筆意。由于臨書比摹書難，因此要先摹后臨，由于臨和摹是兩種相輔相成的學(xué)字手段，因此要臨摹結(jié)合，循序漸進(jìn)。
(3）仔細(xì)讀貼。再者，臨摹前要仔細(xì)讀帖。對(duì)帖上的字，其點(diǎn)畫怎樣書寫，結(jié)構(gòu)怎樣安排，章法怎樣布置，都要仔細(xì)琢磨并從中找出規(guī)律，這樣就容易寫得有興趣，也容易寫得象，寫得好。臨摹時(shí)，不能貪多貪快，每天堅(jiān)持一、二小時(shí)，反復(fù)地臨摹幾個(gè)字，這樣才會(huì)有真正的收獲。對(duì)難寫的字，更要知難而上，多臨摹，多比較。
堅(jiān)持練習(xí)
練習(xí)，持之以恒地堅(jiān)持下去。一般來說，有一年左右的時(shí)間就可以書寫出一手漂亮的行書。
練習(xí)行書在開始的時(shí)候有一個(gè)適應(yīng)的階段，熟能生巧，從一個(gè)字到一段字，從幾個(gè)字、一行字到一篇字，逐漸掌握行書的規(guī)律，慢慢也就形成了屬于你自己的行書風(fēng)格。要善于從多方面吸取營(yíng)養(yǎng)，名人題字，商家牌匾，學(xué)校老師甚至是同學(xué)之間，只要認(rèn)真觀察，都可以找到別人寫的好字，學(xué)會(huì)了，就成了自己的字。
行書技巧
增加鉤挑與牽絲
楷書書寫要一筆一畫、工工整整，行書則不然，是將點(diǎn)畫連起來書寫，即所謂“相間流行”，所以行書書寫時(shí)在點(diǎn)心之間自然地出現(xiàn)或增加了由于用筆帶出來的鉤挑和牽絲。所謂鉤挑是在原來沒有鉤挑的點(diǎn)畫上，行筆時(shí)順勢(shì)寫出來短鉤，如“茂”等字。所謂牽絲則是在前后或上下筆本不相連的點(diǎn)畫之間，順筆勢(shì)帶出來細(xì)細(xì)的牽絲，如“發(fā)”“想”等字。在行書的點(diǎn)畫之間有了鉤挑與牽絲，則顯得筆勢(shì)流動(dòng)通暢和諧，意態(tài)自然，給人一種生機(jī)勃勃的感覺。
注意：
鉤挑與牽絲不能使用太多太弱，用多了，到處都是鉤挑與細(xì)牽絲，顯得用筆不干凈利索，造型不美觀；太弱了，鉤腳如肉瘤，細(xì)絲如棉線，顯得軟弱無力，缺乏鐵畫銀鉤之健美。
以圓轉(zhuǎn)代方折
行書轉(zhuǎn)折處多采用草書圓轉(zhuǎn)的寫法，所以行書才顯得筆勢(shì)流暢。但需注意，行書的圓轉(zhuǎn)中隱含著折意，寫時(shí)仍需要駐筆、提按，否則圓潤(rùn)而無力，缺乏方圓兼?zhèn)洌街杏袌A，圓中有方之妙趣，如“后”、“落”、“生”等字。
改變書寫筆順
小學(xué)老師強(qiáng)調(diào)寫字注意筆順，這確實(shí)是很重要，特別是楷書。然而在行書中，有時(shí)有意識(shí)地改變楷書的書寫筆順，而采用草書的筆順，其目的是便于書寫，同時(shí)也是為了造型的變化多姿，如“感”字。
注意：
一般地說行書寫法也足先上后下先左后右，先內(nèi)后外，但有時(shí)卻反其道而行之，倒也別有風(fēng)趣，如“風(fēng)”“國(guó)”字等，但也必須注意，改變書寫筆順一定要因勢(shì)利導(dǎo)，要合乎草書的規(guī)范。且不宜多，偶見則收，方能成趣，如果濫用成災(zāi)，使人乏味，就失敗了。
用筆靈活
行書比楷書用筆靈活多變，同樣的點(diǎn)畫可以這樣寫，可以那樣寫，不受約束。如“也”字的浮鵝鉤，一般是回鋒收筆而出。但如果勾端由上翻筆而下也可以。又如木字旁，一般是寫好橫畫和豎畫后、筆勢(shì)總是從左邊帶出撇挑，但從右邊挑筆而上，然后順筆就勢(shì)寫出撇挑，也有道理。如“楊”字。
起筆露鋒入紙
楷書無論是點(diǎn)、橫，還是撇、捺，都強(qiáng)調(diào)減鋒為主。而在行書中起筆處以露鋒人紙為多，因?yàn)槁朵h人紙，書寫起來比較簡(jiǎn)捷方便，自然流暢，例如“生”字的左豎，“紅”字的撇畫及“工”字橫畫的起筆，“河”字三點(diǎn)水的側(cè)點(diǎn)等，都是露鋒人紙。然而必須說明的是，上面所說的字雖然都是露鋒人紙，但不是隨便的順鋒搭下一寫，而是仍要“逆鋒”，只是這個(gè)“逆鋒”是要求凌空取勢(shì)，即搶鋒。不理解這一點(diǎn)，就會(huì)犯落筆尖細(xì)軟弱的毛病。
注意：
露鋒入紙，取勢(shì)要求要快，寫出字來，筆意就生動(dòng)活潑．而藏鋒取勢(shì)較慢，筆意含蓄凝重。這兩種寫法各有所長(zhǎng)，我們書寫時(shí)相互結(jié)合摻用，這樣可以各得其所，相得益彰。一般說，行書開頭的起筆往往是露鋒入紙，而以下的承筆處則多數(shù)是藏鋒用筆。
以點(diǎn)代替其他筆畫
為書寫簡(jiǎn)便敏捷，行書常常以“點(diǎn)”來代替其他筆畫，以短小的“點(diǎn)”代替其他較長(zhǎng)大的筆畫，可以使字的結(jié)構(gòu)形態(tài)發(fā)生變化，造型更為別致。如將“京”，“影”字中的“小一字改寫為三點(diǎn)則更敏捷，字型發(fā)生了變化，顯得饒有趣味。又如“大”字，將捺筆寫成側(cè)點(diǎn)來表示，這樣書寫起來簡(jiǎn)捷流暢，造型也顯得精悍樸實(shí)，別具風(fēng)味。
體態(tài)多變
行書是介于楷書與草書之間的一種兼工帶寫的字體，它的使用范圍很廣，表現(xiàn)力豐富，常常一個(gè)字有幾種寫法，體態(tài)多變，姿態(tài)各異，如“是”字有四種寫法，四個(gè)姿態(tài)，結(jié)尾收筆各有不同，有收有放，亦工亦草，情趣盎然。再如“英、落、草、奠、花”同是草字頭，但寫法各不相同，生動(dòng)活潑，耐人尋味。如果同樣的字或是字頭字尾相同的字，寫得千篇一律，沒有變化，使人看了乏味，那就不稱其為書法了。
運(yùn)筆的技巧
中鋒行筆
中鋒行筆就是要使筆鋒保持在點(diǎn)畫中間行筆。中鋒行筆是用筆的關(guān)鍵，是書法的生命。要能達(dá)到中鋒行筆，就要在行筆時(shí)掌握好掌豎、腕平、筆桿直，同時(shí)還要隨著墨液緩緩下流而不斷調(diào)正筆鋒，“令筆心常在點(diǎn)畫中行”。篆、隸、楷書是這樣，行書亦如此，如“乎”、“本”字除落筆和收筆外，中間所有的點(diǎn)畫都是中鋒行筆，“華”字亦是。
劃重點(diǎn)：中鋒行筆，筆跡圓潤(rùn)、道勁，妍美。
裹鋒轉(zhuǎn)筆
所謂裹鋒轉(zhuǎn)筆即是在轉(zhuǎn)折處，用筆使毫不能太鋪，要有所收斂，同時(shí)筆桿要稍加使轉(zhuǎn)，以圓轉(zhuǎn)代替方折，如“思”、“里”、“風(fēng)”字的轉(zhuǎn)角處即是。行書之所以比楷書書寫簡(jiǎn)便，其中一個(gè)原因，就是以圓轉(zhuǎn)代替方折。裹鋒轉(zhuǎn)筆，轉(zhuǎn)折處玲瓏流利，有一種活潑、自然的流動(dòng)感。蔡邕在《九勢(shì)》中所說的“轉(zhuǎn)筆宜左右回顧，無使節(jié)目孤露”就是指裹鋒轉(zhuǎn)筆。但要注意裹鋒轉(zhuǎn)筆處，必須圓轉(zhuǎn)中隱含折意，故書寫時(shí)仍需駐筆、提按，否則圓而無骨，缺乏方圓兼?zhèn)渲钊ぁ?
折鋒轉(zhuǎn)筆
所謂折鋒轉(zhuǎn)筆，即轉(zhuǎn)筆時(shí)如同寫楷書一樣，先提后折，頓筆后再調(diào)鋒而下，只是書寫速度略快些，轉(zhuǎn)折處投有楷書那么方折，而是既看出是方折之意，又有圓渾之感，有骨有肉，骨肉兼?zhèn)洌此^“方中有回，圓中有方”。使人看了圓潤(rùn)、渾厚、勁挺。欲如此，則折鋒轉(zhuǎn)筆處要有方折的意味，折時(shí)要重些，輕重提按要一筆小茍，不能一筆帶過。折鋒轉(zhuǎn)筆寫出來的折畫，不僅要方而見骨，而且要給人一種風(fēng)骨挺立，神采飛揚(yáng)的感覺。如“曲”“故”“總”字。
劃重點(diǎn)：行書中的折筆寫法，不外折鋒轉(zhuǎn)筆和裹鋒轉(zhuǎn)筆兩種用筆。折鋒轉(zhuǎn)筆外露，裹鋒轉(zhuǎn)筆內(nèi)含，各有千秋，但一般說在行書中以裹鋒轉(zhuǎn)筆為主，折鋒轉(zhuǎn)筆為輔。
衄鋒勒筆
衄鋒勒筆，就是點(diǎn)畫中間稍用力頓挫一下，再中鋒勒筆而出。衄鋒勒筆大多數(shù)是用在反撩與撇的交接處，如“又”、“文”、“交”字的反捺中間用筆。衄鋒勒筆，用筆收斂蓄勢(shì)，短小精悍，而形態(tài)也有變化。這種用筆米芾書法中常用。
劃重點(diǎn)：衄鋒勒筆在衄鋒時(shí)要有力，勒筆處要迅速，捺畫末筆要收得住。
提鋒連筆
提鋒連筆即提筆連鋒，也就是在點(diǎn)畫相連處用筆提而不斷，鋒尖著紙帶出牽絲。凡是點(diǎn)畫間有牽絲相連者都是提筆連鋒用筆。這種用筆的好處是：“是點(diǎn)畫處皆重，非畫處，偶相牽引，其筆皆輕。”（姜夔《續(xù)書譜》）且主次分明叉遞相映帶，如“墨”、“照”、“然”的點(diǎn)畫牽引處。
在書寫過程中，提和按，連和斷，互為辯證的關(guān)系。提鋒連筆是牽絲的寫法，非牽絲處都是字的實(shí)畫。我們?cè)趯W(xué)習(xí)過程中，一定要注意用筆要實(shí)，不能虛，用筆要按不能提。只有按得下，方能提得起，只有實(shí)是實(shí)，方能虛是虛。
字組黃金法則
書法的形式是各種造型的組合關(guān)系。例如點(diǎn)畫與點(diǎn)畫的組合、結(jié)體與結(jié)體的組合、字組的組合、行的組合、區(qū)域的組合，直至筆墨與空白的組合等。這些組合從小到大，隨著組合關(guān)系的不斷擴(kuò)大，審美內(nèi)涵也逐漸豐富。
行書的結(jié)構(gòu)和章法的規(guī)則要求主要是：結(jié)體大小輕重要適當(dāng)，長(zhǎng)短縱橫要合度，疏密黑白要相稱，左右欹正相呼應(yīng)，使之錯(cuò)落變化，氣勢(shì)貫通，協(xié)調(diào)統(tǒng)一，神定氣足。
以米芾的《苕溪詩(shī)帖》為例子，來窺探米顛他這部曠世作品里常見字與字之間的呼應(yīng)的關(guān)系，進(jìn)行一個(gè)簡(jiǎn)單的總結(jié)和歸類。
欹正組合
欹正是指部分偏旁、部首或局部作傾斜、欹側(cè)處理，又能傾而不倒，平中寓奇，增加字的變化和意外的奇趣。欹正得體就是說，歪的與正的陰陽配合到完美，指字寫的很完美。
濃淡組合
書法是通過墨來表現(xiàn)的，墨法是書法的四大要素之一被書家重視。墨色的變化，一般有“濃、淡、干、濕、漲”。作品中的墨色的深淺枯潤(rùn)，可以造成雄奇或秀媚的書法意境。
大小組合
在行書作品中，字的大小是賓主關(guān)系，主次分明。把較大的筆畫較粗的主字分布原則掌握了，較小的筆畫較細(xì)的字分布原則也是一樣的。
行書與草書組合
首先是字型結(jié)構(gòu)方面，草書的字型變化很大，大小不一，不是內(nèi)行的話一般很難辨認(rèn)。而行書大小就比較一致了，看起來很工整。其次是筆法方面，草書筆法相對(duì)復(fù)雜些，且運(yùn)筆較疾。而行書相對(duì)緩和，其鋒刃體現(xiàn)在字形上，和草書有所區(qū)別。最后是章法。草書的章法是在起承轉(zhuǎn)合中一氣呵成，有一種大將風(fēng)范。而行書則像一位隱士，不失工整，卻又不乏氣場(chǎng)。
粗細(xì)組合
線條，尤其是行書的線條，其輕、重、長(zhǎng)、短、粗、細(xì)、濃、淡、枯、潤(rùn)等等，變化無窮，儀態(tài)萬千，技法俱分高下，情態(tài)盡在其中。難怪有人說書法是“線條藝術(shù)”。
行書線條有其藝術(shù)法則的規(guī)范性。不是任何隨意抹畫出來的線條都可稱之為行書藝術(shù)的線條，他們必須符合行書法則規(guī)范性要求并經(jīng)過長(zhǎng)期技法訓(xùn)練之后才能被書者所擁有。
這種規(guī)范性要求是客觀的，不依書者主觀意志為轉(zhuǎn)移。書者只有在掌握了規(guī)范性要求的前提下方能發(fā)展和張揚(yáng)其個(gè)性。區(qū)分寫字與書法，必須首先看其是否具有“法度意識(shí)”即“規(guī)范意識(shí)”，是否符合規(guī)范性要求。
連體組合
連畫寫法在行書中，除了橫、豎、撇、挑、捺、點(diǎn)、折、勾外，還常常有多個(gè)筆畫連在一起寫的情況，簡(jiǎn)稱連筆或連畫。連畫的式雖然紛繁復(fù)雜，但分解起來，無非是直線弧線、轉(zhuǎn)和折的組合。直線和爪線較易分辨，也較易書寫，只要及時(shí)運(yùn)腕，做到中鋒行筆即可，比較不易分清的是轉(zhuǎn)和折。書寫復(fù)雜的連畫時(shí)，必須注意靈活運(yùn)腕和轉(zhuǎn)折相間等原則。
橫縱組合
主要表現(xiàn)為點(diǎn)畫、部件或整體字形的長(zhǎng)寬比例。楷書字形一般比例較為穩(wěn)定，而行書則常隨時(shí)進(jìn)行調(diào)整。
省略組合
一般情況是凡字的固有筆畫則重些，而兩畫之間的連接相應(yīng)輕些，但不可截然跳動(dòng)，否則呆板無神。牽絲形成連的效果是行書的主要特征之一，但卻要運(yùn)用得當(dāng)。一味的牽連纏繞，當(dāng)斷不斷，反而弄巧成拙，形成浮滑薄弱之病，是行書書寫中的大忌。一位書法家講過“連與斷效果不同，連易斷難，故當(dāng)知斷”。因此將牽絲引帶與點(diǎn)畫呼應(yīng)分開來講以區(qū)別它們的不同功用，這是行書的又一重要特征。
疏密組合
疏密體現(xiàn)在結(jié)字上，就是要加強(qiáng)對(duì)比，制造視覺反差。如勢(shì)巧形密與意疏字緩。
排列組合
從漢字的特點(diǎn)和人的生理習(xí)慣來看，因?yàn)槭怯沂謱懽郑笫謭?zhí)冊(cè)個(gè)字的筆順自然是從上至下，自左而右的方便。如果從右往左寫，寫左半部時(shí)，毛筆勢(shì)必?fù)踝∮野胱中危槐阌诎才沤Y(jié)構(gòu)，影響結(jié)字的美觀。而每個(gè)漢字的未筆都是在中下或右下，寫完上一字的末筆緊接著寫下一字的起筆，豎式書寫比橫式書寫更方便，更便于筆勢(shì)的連貫。
十大行書
第一行書
《蘭亭序》是王羲之47歲時(shí)的書作，記述的是王羲之和友人雅士會(huì)聚蘭亭的盛游之事。全篇從容嫻和，氣盛神凝，逸筆天成，匠心獨(dú)運(yùn)而又不毫無安排造作的痕跡。這樣資質(zhì)超群、功力深厚的作品，被評(píng)“為天下第一行書”，確實(shí)是當(dāng)之無愧的。
第二行書
《祭侄文稿》，全名《祭侄贈(zèng)贊善大夫季明文》。原作紙本，縱28.8厘米。橫75.5厘米，共234字(另有涂抹字30余個(gè))。現(xiàn)藏臺(tái)北故宮博物院。顏真卿這篇《祭侄文草稿》是在極度悲憤的情緒下書寫，顧不得筆墨的工拙，故字隨書家情緒起伏，純是精神和平時(shí)功力的自然流露。這在整個(gè)書法史上都是不多見的。可以說，《祭侄文稿》是極具史料價(jià)值和藝術(shù)價(jià)值的墨跡原作之一，至為寶貴。
第三行書
《黃州寒食詩(shī)帖》，紙本，25行，共129字，是蘇軾行書的代表作。這是一首遣興的詩(shī)作，是蘇軾被貶黃州第三年的寒食節(jié)所發(fā)出的人生之嘆。詩(shī)寫得蒼涼多情，表達(dá)了蘇軾其時(shí)惆悵孤獨(dú)的心情。《黃州寒食詩(shī)帖》彰顯動(dòng)勢(shì)，洋溢著起伏的情緒。元朝鮮于樞把它稱為繼王羲之《蘭亭序》、顏真卿《祭侄稿》之后的"天下第三行書"。
第四行書
《伯遠(yuǎn)帖》行書紙本，因首行有“伯遠(yuǎn)”二字，遂以帖名。此帖為晉代真跡，王珣書，故列希珍之寶。此帖行書，筆力遒勁，態(tài)致蕭散，妍媚流便，是典型的王氏書風(fēng)。是帖明末在新安吳新宇處，后歸吳廷，曾刻入《馀清齋帖》，至清代時(shí)歸入內(nèi)府，并與王羲之《快雪時(shí)晴帖》、王獻(xiàn)之《中秋帖》同列為三希堂法帖之一，現(xiàn)藏北京故宮博物院。
第五行書
《韭花帖》，楊凝式書，墨跡麻紙本，高26厘米，寬28厘米，共7行，63字。《韭花帖》是一封信札，內(nèi)容是敘述午睡醒來，腹中甚饑之時(shí)，恰逢有人饋贈(zèng)韭花，韭花非常可口，遂執(zhí)筆以表示謝意。
第六行書
《蒙詔帖》，墨跡紙本，又名《翰林帖》，高26.8厘米，長(zhǎng)57.4厘米，大字行書，計(jì)7行，27字，書于長(zhǎng)慶元年(公元821年)，當(dāng)時(shí)柳公權(quán)四十四歲，年富力強(qiáng)，正是他書法創(chuàng)作的顛峰期，所以字如驚鴻擊空。
第七行書
《張翰思鱸帖》也稱《季鷹帖》，是歐陽詢?yōu)閺埡矊懙男鳎瑢儆谛锌瑹o款。紙本，縱25.2厘米，橫33厘米。共10行，每行九至十一字。字體修長(zhǎng)嚴(yán)謹(jǐn)，筆力剛勁挺撥，風(fēng)格平正中見險(xiǎn)峻之勢(shì)，是歐書中的精品。
第八行書
《蜀素帖》是米芾三十八歲時(shí)(1088年)，在蜀素上所書的各體詩(shī)八首。此帖用筆多變，正側(cè)藏露，長(zhǎng)短粗細(xì)，體態(tài)萬千，充分體現(xiàn)了他“刷字”的獨(dú)特風(fēng)格。結(jié)字也俯仰斜正，變化極大，并以欹側(cè)為主，表現(xiàn)了動(dòng)態(tài)的美感。董其昌在《蜀素帖》后跋曰：“此卷如獅子搏象，以全力赴之，當(dāng)為生平合作。”
第九行書
《松風(fēng)閣詩(shī)帖》墨跡紙本，縱32.8厘米橫219.2厘米，全文計(jì)29行，153字。臺(tái)北故宮博物院藏。
黃庭堅(jiān)的行書，如《松風(fēng)閣》，起筆處欲右先左，由畫中藏鋒逆入至左頓筆，然后平出，“無平不陂”，下筆著意變化；收筆處回鋒藏穎。善藏鋒，注意頓挫，以“畫竹法作書”給人以“沉著痛快”的感覺。
第十行書
《土母帖》，行書墨跡，紙本。縱31.2厘米，橫44.4厘米，10行，共104字。后有蕭引高、王嚴(yán)實(shí)、王稱等跋。《珊瑚綱》《書畫匯考》《墨緣匯觀》《石渠寶笈續(xù)編》著錄。臺(tái)北故宮博物院藏。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"行書，又稱“行押書”，也稱“藁書”，是介于楷書和草書之間的一種書體。楷書稍加連貫，點(diǎn)畫略帶呼應(yīng)，就是行書。行書寫起來比楷書快，又比草書容易識(shí)認(rèn)，所以是應(yīng)用最廣的書體。它既實(shí)用，又美觀，寫起來便捷。","id":""}],"text":"","id":"doxcn4aE402auGgSmmtW0KQep9N"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"行書分類","id":""}],"text":"","id":"doxcncUyaQmms04Sa2zFsbUI2ud"},{"type":"paragraph","children":[{"type":"text","text":"行書大致以其作品所具有的楷書和草書成分，劃分為兩類：作品中楷書成分較多的稱之為行楷或楷行、真行：作品中草書成分較多的則稱之為行草或草行。","id":""}],"text":"","id":"doxcneY8iG0IKOSicElqlROpOTf"},{"type":"image","attrs":{"height":240,"note":[{"type":"text","text":"行書分類","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/1e6d4cfb4c724fe2a50bc9fe27bff8dc","width":480},"text":"","id":"doxcnMiMuEeu6KU4Y6CxkhgVSwg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"硬筆行書","id":""}],"text":"","id":"doxcnKCIIoaIocYeGw32CPfbbHg"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"書寫姿勢(shì)","id":""}],"text":"","id":"doxcns0IOUKCaUeqMc34iSKLlUq"},{"type":"paragraph","children":[{"type":"text","text":"正確的書寫姿勢(shì)不只是為了好看，還可以使書寫技能得到充分、有效地發(fā)揮，有助于書寫者的身心健康。書寫姿勢(shì)同時(shí)也反映出書寫者的修養(yǎng)，只有身正才會(huì)字正。正確的姿勢(shì)應(yīng)是頭正、身直、肩平、胸舒、臂開、足安。（如下圖）","id":""}],"text":"","id":"doxcn8wqMMEEiWK8OiSzYNHJStb"},{"type":"image","attrs":{"height":226,"note":[{"type":"text","text":"書寫姿勢(shì)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/a40508b1d7ef468ab40fdfcd01534c40","width":490},"text":"","id":"doxcnSUKKakM2KekcminomBeyLe"},{"type":"paragraph","children":[{"type":"text","text":"1、頭部端正：頭要居中，稍向前下方俯視，眼睛與紙面一尺距離，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：臀部平坐于椅子中間大部，不能扭向一邊，兩肩平齊，上身不彎曲，使上身重心安穩(wěn)。","id":""}],"text":"","id":"doxcngQwUUyUQUkM4uefGQBv2gf"},{"type":"paragraph","children":[{"type":"text","text":"3、臂開胸舒：兩臂自然開張，兩肘平放桌面，保持一線，腹背挺直，胸口與桌沿保持一拳距離，使呼吸順暢。","id":""}],"text":"","id":"doxcnSoYiKiMyo0oYG4KjKiM9Ed"},{"type":"paragraph","children":[{"type":"text","text":"4、腿開足安：兩腿分開，與肩同寬，自然下垂，內(nèi)側(cè)保持平行，兩腳平放地上，使全身平衡。正確的書寫姿勢(shì)，才能使字寫得端正，重心平衡。同時(shí)，正確的姿勢(shì)也會(huì)給人的身體帶來益處。","id":""}],"text":"","id":"doxcns6mMuygeoOAAbeNdCTR3sR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"執(zhí)筆方法","id":""}],"text":"","id":"doxcnMwOuYqCOUmyOElewXFfoue"},{"type":"paragraph","children":[{"type":"text","text":"執(zhí)筆方法不正確，不但妨礙書寫姿勢(shì)，影響書寫質(zhì)量，還會(huì)給書寫者身心健康帶來危害，不可忽視。根據(jù)筆的自身特點(diǎn)，硬筆是三指執(zhí)筆法，斜拿。","id":""}],"text":"","id":"doxcnKOyeGgCKysSuoR4AWMSTlf"},{"type":"paragraph","children":[{"type":"text","text":"正確的執(zhí)筆方法：","id":""}],"text":"","id":"doxcn4Y2OUi0EcSesIUbc1vozpb"},{"type":"paragraph","children":[{"type":"text","text":"①用拇指、食指、中指三個(gè)指頭捏住筆桿（三指處于同一平面）；","id":""}],"text":"","id":"doxcngiwu0UCAOYacIu6KGL2H3r"},{"type":"paragraph","children":[{"type":"text","text":"②指尖距筆尖約2.5cm~3cm（兩指左右）；","id":""}],"text":"","id":"doxcnY6kCIqw0i082UZUfuDnTDe"},{"type":"paragraph","children":[{"type":"text","text":"③所有指關(guān)節(jié)都向外彎；","id":""}],"text":"","id":"doxcnWqouSwww48YQ45GHVukRNf"},{"type":"paragraph","children":[{"type":"text","text":"④筆桿位于食指的根部（如下圖）。","id":""}],"text":"","id":"doxcnkoKMOqEkee8w8Vu8sYbtOg"},{"type":"image","attrs":{"height":306,"note":[{"type":"text","text":"執(zhí)筆方法","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/2476017c5da14695a5b88c8300e664d5","width":480},"text":"","id":"doxcnk2eq26YwUeQye0miiDVODh"},{"type":"paragraph","children":[{"type":"text","text":"同時(shí)，還要做到：","id":""}],"text":"","id":"doxcnmkYyAe0YMcmwsNUG9hBGmc"},{"type":"paragraph","children":[{"type":"text","text":"①指實(shí)：拇指、食指、中指來自三方的力量，處在與筆桿垂直的同一圓角上，將筆桿夾牢，松緊適度。","id":""}],"text":"","id":"doxcn8MAI8SUaSEEowxU0syE1Rf"},{"type":"paragraph","children":[{"type":"text","text":"②掌虛：無名指和小指緊隨中指下部依次靠攏，并向掌心彎曲、虛握。小指的整個(gè)底部形成一個(gè)環(huán)形底座，虛貼桌面。","id":""}],"text":"","id":"doxcnYqGg4KaqUsUm4I9Irngdfe"},{"type":"paragraph","children":[{"type":"text","text":"③桿斜：筆桿向右后方傾斜，緊靠在食指第三關(guān)節(jié)與虎口方向，與桌面呈45°角。如果寫較大的字，手指向前伸直，筆桿與紙面角度減小；書寫較小的字手指向掌心收縮，筆桿與紙面角度大，宜于精離細(xì)琢。","id":""}],"text":"","id":"doxcnWGwGcMy8qowe4sTzMLSAvd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"練習(xí)方法","id":""}],"text":"","id":"doxcnsaya08WYQEEgOA9x1F1eDg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"選筆","id":""}],"text":"","id":"doxcn6WKOMyA0IiGeeq3QniKiwd"},{"type":"paragraph","children":[{"type":"text","text":"鋼筆","id":""}],"text":"","id":"doxcnawaQGACeGAi4A9G4AT0UCg"},{"type":"paragraph","children":[{"type":"text","text":"具備一支書寫流暢的鋼筆，是開始練習(xí)行書的基礎(chǔ)條件。眾所周知，隨著技術(shù)的發(fā)展進(jìn)步，簽字筆已經(jīng)深入到社會(huì)生活的各個(gè)方面，我們?cè)诮^大部分時(shí)候都是使用簽字筆來寫字，使用鋼筆的時(shí)候比較少。但是想要練習(xí)好行書，則必須要有一支書寫流暢的鋼筆。鋼筆不同于簽字筆，它可以更好地適應(yīng)行書的書寫順序，保證書寫出來的行書更加漂亮。明尖筆，彈性略大一點(diǎn)，筆畫變化稍大，更適合書法。","id":""}],"text":"","id":"doxc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d":""}],"text":"","id":"doxcnaoQEkUwiSakI2Td7ejvdkg"},{"type":"image","attrs":{"height":480,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/9b5e3ff98a9b4db68cdcad759409cebd","width":301},"text":"","id":"doxcnmA2QUUsSEcGYmutFIfyDTb"},{"type":"paragraph","children":[{"type":"text","text":"二、偏旁部首在字中不同位置的變化寫法訓(xùn)練","id":""}],"text":"","id":"doxcnUesAoU2Y8Ykw8rlKc3QZdf"},{"type":"paragraph","children":[{"type":"text","text":"偏旁部首出現(xiàn)于字的上、下、左、右、里、外不同位置時(shí)，寫法也不盡相同，使得漢字書寫千變?nèi)f化。我們了解了這些變化要領(lǐng)，就可以觸類旁通，掌握書寫規(guī)則，熟習(xí)它們的變化規(guī)律，舉一反三，就可收到事半功倍的效果。","id":""}],"text":"","id":"doxcniQ0sEw4oUYwwoBChGf9ebg"},{"type":"paragraph","children":[{"type":"text","text":"1、土部在左時(shí)豎畫偏右，下橫改提以讓右；在字右部時(shí)，兩橫間距拉開：在字上、下時(shí)，兩橫間距緊湊，避免結(jié)構(gòu)松散。","id":""}],"text":"","id":"doxcn2CCkAuyKmIOI6L2vFXkztd"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/0af41ffb87d04dcc82b7bfc9b42ba488","width":480},"text":"","id":"doxcnMsK2WESqoEiqKUY0IGShnh"},{"type":"paragraph","children":[{"type":"text","text":"2、火部在字左側(cè)斜撇改為豎撇，捺變點(diǎn)收縮；居字上部筆畫收縮，改捺為點(diǎn)；如在字右部或下部撇捺向兩邊伸展。","id":""}],"text":"","id":"doxcnggoCmqUSKecQ0MaZM2Paeh"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/eeebae2d7979437ba6fd3ad2d2530c84","width":480},"text":"","id":"doxcn2s6Aae4oWSUIiqm98u96Ac"},{"type":"paragraph","children":[{"type":"text","text":"3、木部在左時(shí)橫短豎長(zhǎng)且偏右，捺改點(diǎn)；在右時(shí)橫短豎長(zhǎng)，撇捺伸展；在字上豎較短，撇捺張開；在字下橫畫長(zhǎng)，豎帶鉤，撇捺改點(diǎn)。","id":""}],"text":"","id":"doxcncacUGAgeokiy8EVMkDPsTH"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/a8c7266cdbc247bab3c0b69bd55b08a9","width":480},"text":"","id":"doxcnQmMme0SoAEi80Yiuvytgwf"},{"type":"paragraph","children":[{"type":"text","text":"4、日部豎畫柔和自然，橫折與豎畫協(xié)調(diào)，中橫居中不要太滿，底橫不可超出右豎。作左偏旁時(shí)較窄；在字右部地位適中。","id":""}],"text":"","id":"doxcnsMgeM6k0myGqeg2Z54zZJe"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/b07c184b095d46fcb29a2f2d5aa10c3e","width":480},"text":"","id":"doxcnWW0CkEcqCmeuaUh0HfRNog"},{"type":"paragraph","children":[{"type":"text","text":"5、月部豎撇較長(zhǎng)，里面兩橫偏上不寫滿。月旁在左寫得瘦窄些；在右側(cè)寫得豐滿些。","id":""}],"text":"","id":"doxcnMEGyaOWI2MSSGAxxesNmAf"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/0533b72235844564877fe4162198fe03","width":480},"text":"","id":"doxcnQuesucyGOQGAQdNilSBHwh"},{"type":"paragraph","children":[{"type":"text","text":"6、方部點(diǎn)斜取勢(shì)，橫與點(diǎn)保持間距，彎鉤重心。方在左橫畫右邊不能長(zhǎng)；在字下部點(diǎn)與橫相交。","id":""}],"text":"","id":"doxcnoO4sA8iwwisaWemxEIfBWd"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/7dd29e23e18948fabfa7cccc4c10ebe7","width":480},"text":"","id":"doxcn6YoAW6oWcMyKEf7WPqMJXd"},{"type":"paragraph","children":[{"type":"text","text":"7、石部在左位置偏上，字形略小，以讓右；在字下部要橫長(zhǎng)撇短；品字結(jié)構(gòu)要上正左小右大。","id":""}],"text":"","id":"doxcnWmcsQaq0kGaSQTcVxk0q7f"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/9342f31800c54b8ab56f0f0d2ee84255","width":480},"text":"","id":"doxcnsaCWsGGKm4EcTizCRXWYlV"},{"type":"paragraph","children":[{"type":"text","text":"8、耳部筆順先橫后豎再三橫，在字左懸針改垂露，下橫變提在右側(cè)稍豐滿些；居字上部懸針短。","id":""}],"text":"","id":"doxcnEUWGMEoOQIKeUMwOcU1agq"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/7e86a6d4028a44cd9e589fe27eb9923f","width":480},"text":"","id":"doxcniCQsGI8QeaKIIr0GybZWzb"},{"type":"paragraph","children":[{"type":"text","text":"9、米部在字左側(cè)時(shí)橫短豎長(zhǎng)，捺變點(diǎn)；在字右邊撇捺伸展；居字上部豎畫的下部短；在字下部，豎畫的上部短。","id":""}],"text":"","id":"doxcnKeMA6E2uw4WKukc3qURTzg"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/989aa10495cf497bbdcf70cfe495fc6e","width":480},"text":"","id":"doxcnk0KYmI00yW02KcWhzaXl5d"},{"type":"paragraph","children":[{"type":"text","text":"10、禾部用作左旁，撇橫間距拉開，豎偏右，捺改點(diǎn)；在右時(shí)，左撒收縮以讓左；禾部在字上寫法有兩種：①下部伸展，禾部收縮；②下部收縮，則禾部散捺伸展。","id":""}],"text":"","id":"doxcnSagqI8kcWsmYkFVW3oX6Mc"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/88cf217e36844147bbc244c4a267a610","width":480},"text":"","id":"doxcnM4mKuIAmSMemmqNAPkFODe"},{"type":"paragraph","children":[{"type":"text","text":"總之，筆畫之間要遵循上、下、左、右伸縮，高、低、顧、盼照應(yīng)的規(guī)律。\\n三、相似偏旁部首的區(qū)別訓(xùn)練\\n","id":""},{"type":"text","text":"行書寫法簡(jiǎn)省筆畫，再加之勾挑、牽絲相連，從而出現(xiàn)一些相似部首容易混淆。","id":""}],"text":"","id":"doxcnciwugAsi8iQs8x41KnHlnd"},{"type":"paragraph","children":[{"type":"text","text":"因此，我們有必要","id":""},{"type":"text","text":"對(duì)其分析，找出規(guī)律、異同，掌握正確的書寫方法。\\n","id":""},{"type":"text","text":"1、言字旁和三點(diǎn)水二者主要區(qū)別在第二筆。言字旁橫折提的橫折處實(shí)、重；三點(diǎn)水第二筆為右點(diǎn)收筆與第三筆虛連、輕。","id":""}],"text":"","id":"doxcnQoEkQiWMaSsKYBpFrYuftg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/fd1a6a74366142adbf7b3017f1e45fe5","width":480},"text":"","id":"doxcnCoC2yIas6SQ0GTr64LXZgb"},{"type":"paragraph","children":[{"type":"text","text":"2、提手旁和牛字旁都是一筆完成。區(qū)別是提手旁第一筆為橫，牛字旁是撇折，因此，提手旁第一筆逆勢(shì)過大很容易寫成牛字旁。","id":""}],"text":"","id":"doxcnMG8sko60y8AQiOLzj5X3Ob"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/76bc21d0e08345c3b9846cec581829f2","width":480},"text":"","id":"doxcnUu8uiOyQSAaM6C7S2KnYIg"},{"type":"paragraph","children":[{"type":"text","text":"3、木字旁與反犬旁區(qū)別：","id":""}],"text":"","id":"doxcnQS6ea6EwoaAq2jPQlDjw1d"},{"type":"paragraph","children":[{"type":"text","text":"①第一筆筆畫和筆勢(shì)不同，木旁為短橫，由左至右上挑，反犬旁為撇，由右上至左下再上覆連彎鉤。②第二筆木旁為豎，筆勢(shì)直；反犬為彎鉤，筆勢(shì)弧形。","id":""}],"text":"","id":"doxcnaUMuiqSMUo6KwdgfLG5uad"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/260ad4c2456645de98a044ea520f5975","width":480},"text":"","id":"doxcnOU4CuYaQc0uACepy2epVZf"},{"type":"paragraph","children":[{"type":"text","text":"4、奉字頭與卷字頭區(qū)別在首筆，奉字頭是橫，卷字頭為合兩點(diǎn)，如將合兩點(diǎn)寫得過近，連絲過粗，近似短橫，則二者就","id":""},{"type":"text","text":"相像","id":""},{"type":"text","text":"了。","id":""}],"text":"","id":"doxcnWKG8oUKWsce4YLkSj3YJXg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/791c0b78ac8642e8860dee2e5a5cd632","width":480},"text":"","id":"doxcnK6Q4kIWggumuGCvQcO3STb"},{"type":"paragraph","children":[{"type":"text","text":"5、四字頭和血字底筆畫、筆勢(shì)相同，區(qū)別在最后一橫。四字頭橫畫縮在左豎與右折鉤內(nèi)，而血字橫將二者托起。","id":""}],"text":"","id":"doxcnCSiI6AwYOa8UghQvoBzPZc"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/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樣，不同點(diǎn)在上部：立旁是右點(diǎn)加斜橫，足字旁是口為首，只要筆畫與牽絲交待清晰，二者不難分辨。","id":""}],"text":"","id":"doxcn48wkqOosgm0YE99tyiyfWh"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/519166a675f54aaabfa73202fcca982d","width":480},"text":"","id":"doxcnUAESoqY4MeiWA37Alvwdac"},{"type":"paragraph","children":[{"type":"text","text":"7、示字旁與禾字旁區(qū)別在于起筆不同：示旁右點(diǎn)帶鉤呼出橫畫，禾旁為小撇，呼出橫畫；橫豎畫轉(zhuǎn)接處不同，示旁在下部，禾旁在上部。","id":""}],"text":"","id":"doxcnM2qAMQQqWwIuKseGyWLQuh"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/32318d6657204aab9d0a86c6821551ce","width":480},"text":"","id":"doxcn662UUI4w6OikER4c9QpkUe"},{"type":"paragraph","children":[{"type":"text","text":"8、貝字旁與欠字旁運(yùn)筆方法基本相同。要區(qū)分二者，第一、欠旁起筆為撇而且較長(zhǎng)，撇出后回筆短；貝旁起筆豎且短，回鋒長(zhǎng)。第二、欠旁是撇折鉤，彎頭小；貝旁是豎彎折，彎頭大。","id":""}],"text":"","id":"doxcnwM22o8KUakEOW4ji7mnv88"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/015d2ea4bd124825afc7296832d4e80f","width":480},"text":"","id":"doxcnAAkAusMmaqOgiGi7TcfrIf"},{"type":"paragraph","children":[{"type":"text","text":"9、左耳旁和右耳旁筆畫、筆勢(shì)完全相同，區(qū)分在于左耳旁不封口，豎為垂露且短些；右耳旁封口，豎為懸針且稍長(zhǎng)。","id":""}],"text":"","id":"doxcnWowuEOEe6i0IeoIKMWEpXf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/c117bb052a9c4079a5b2834bde2267dc","width":480},"text":"","id":"doxcnqy6kUyg0a8C4AZXt4uuEXd"},{"type":"paragraph","children":[{"type":"text","text":"10、絞絲旁與雙人旁二者最大區(qū)別是雙人旁第二筆為撇，之后筆不離紙由撇原路返至中間作豎向右上回鋒，意連下一筆；絞絲旁折筆處是兩弧形，無撇畫、豎畫，收筆回鋒斜上作提。","id":""}],"text":"","id":"doxcnSyqAKukYUSEG6niaBJjQVd"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習(xí)","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/e95dc279e97c42ab8cfe82456e844380","width":480},"text":"","id":"doxcnocU4S04eK4ySe0lGdlF7ic"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通過具體字訓(xùn)練","id":""}],"text":"","id":"doxcnEkKyCI2ewomYGbZ4XwwJ6X"},{"type":"par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ildren":[{"type":"text","text":"行書章法多用縱有行、橫無列，或縱無行，橫無列兩種。字與字之間要有內(nèi)在聯(lián)系，行與行之間要有意態(tài)呼應(yīng)。不必故意筆筆相連，貴在氣息貫注，筆斷意連。通篇字的大小變化、疏密對(duì)比、伸縮之宜都要合乎自然，章法要如音樂之旋律，如詩(shī)詞之有聲律。詩(shī)詞的“","id":""},{"type":"text","text":"平平仄仄平平仄”","id":""},{"type":"text","text":"抑揚(yáng)頓挫，一如行書的疏密奇正伸縮，對(duì)比中求和諧，對(duì)立中求統(tǒng)一。雖是“疏可跑馬，密不容針”，仍要密不迫塞，疏不散漫，總之要渾然一體，一氣呵成，無意之佳為最妙。","id":""}],"text":"","id":"doxcn04A0IIi6M4EwqMltH6jt8e"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"練習(xí)方法","id":""}],"text":"","id":"doxcno8OayaMusYgQyW8qrgX6lf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"選筆","id":""}],"text":"","id":"doxcn8amCSkIwokIgtGEPU7bxlk"},{"type":"paragraph","children":[{"type":"text","text":"初學(xué)者在書寫行書時(shí)，不論是行草還是行楷，因?qū)γP的使用以及落筆的輕重緩急尚未把握，可以選擇兼毫來使用，兼毫兼具了硬毫和軟毫的優(yōu)點(diǎn)，較為容易上手，而且使用兼毫吸墨量適宜，不會(huì)導(dǎo)致初學(xué)者在書寫行書時(shí)停頓出現(xiàn)墨水團(tuán)影響紙面。","id":""}],"text":"","id":"doxcnuU4iayCCoiwmiotBm1rFRg"},{"type":"paragraph","children":[{"type":"text","text":"挑選毛筆是挑毛尖。筆頭要尖、齊、圓、鍵，即：筆頭的鋒穎既尖銳似錐又要圓潤(rùn)，筆頭既要修削整齊，筆尖又要豐滿，富有彈性。一般筆桿多用鳳尾竹、湘妃竹、花竹、紫竹制成。挑選筆桿時(shí)要看筆管是否圓正光滑，不癟、不裂、不彎、不斜，長(zhǎng)短適度。筆桿上有篆刻的，要看它是否鐫秀清晰；有鑲嵌的，要看是否曲雅古樸。最后，要看筆頭與筆桿是否粘牢，筆頭有無發(fā)霉、蟲蛀現(xiàn)象。先用手輕輕晃動(dòng)筆頭，不能出現(xiàn)松動(dòng)現(xiàn)象，再輕輕彈筆桿，看是否有掉毛，有毛掉睛，不是蟲蛀，便是發(fā)霉。檢查毛筆筆頭是否發(fā)霉，還可以聞聞?dòng)袩o霉味。","id":""}],"text":"","id":"doxcnmACksiOOkaUOmSfiLeDWZd"},{"type":"image","attrs":{"height":300,"note":[{"type":"text","text":"選筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/6ba4cf325a9d447dacb3f43f7b146328","width":300},"text":"","id":"doxcn6kyYYQqKyAeyikNcHqck0g"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"選字帖臨摹","id":""}],"text":"","id":"doxcnq8wyW6MGEG228k1O0QCzQ5"},{"type":"paragraph","children":[{"type":"text","text":"(1）挑選字帖。挑選一本孩子比較喜愛的、點(diǎn)畫比較工整的、結(jié)體比較勻稱的字帖來臨摹。毛筆字帖，應(yīng)挑選字體小一點(diǎn)的字帖，這樣可省去縮小的工夫。","id":""}],"text":"","id":"doxcnsI0Gqq88UAS24JhM2exNvf"},{"type":"paragraph","children":[{"type":"text","text":"(2）先摹后臨、臨摹結(jié)合在習(xí)字時(shí)，要先摹后臨、臨摹結(jié)合。毛筆照著字帖上的字一點(diǎn)一畫地描紅。要求寫的筆跡不要越出字帖字外，都寫在字帖上字的點(diǎn)畫中間。這樣，久而久之，就容易學(xué)到字帖上字的結(jié)構(gòu)。所謂臨，就是把字帖放在習(xí)字紙旁；照著帖上的字依樣畫葫蘆。要求點(diǎn)畫寫得象，有輕重節(jié)奏和粗細(xì)的變化。這樣，久而久之，就容易學(xué)到字帖上字的筆意。由于臨書比摹書難，因此要先摹后臨，由于臨和摹是兩種相輔相成的學(xué)字手段，因此要臨摹結(jié)合，循序漸進(jìn)。","id":""}],"text":"","id":"doxcnC88eogKKM0YE8PDGFbRyje"},{"type":"paragraph","children":[{"type":"text","text":"(3）仔細(xì)讀貼。再者，臨摹前要仔細(xì)讀帖。對(duì)帖上的字，其點(diǎn)畫怎樣書寫，結(jié)構(gòu)怎樣安排，章法怎樣布置，都要仔細(xì)琢磨并從中找出規(guī)律，這樣就容易寫得有興趣，也容易寫得象，寫得好。臨摹時(shí)，不能貪多貪快，每天堅(jiān)持一、二小時(shí)，反復(fù)地臨摹幾個(gè)字，這樣才會(huì)有真正的收獲。對(duì)難寫的字，更要知難而上，多臨摹，多比較。","id":""}],"text":"","id":"doxcnUS8KgaY4qQwyctvspKnzLf"},{"type":"image","attrs":{"height":800,"note":[{"type":"text","text":"選字帖臨摹","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/a333a665d1cb4ff5909b128c743317db","width":800},"text":"","id":"doxcne46Wg00GCU0iQhZWcyf8ue"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"堅(jiān)持練習(xí)","id":""}],"text":"","id":"doxcnuaYGKW6s6IsKMZ6vxv5BNg"},{"type":"paragraph","children":[{"type":"text","text":"練習(xí)，持之以恒地堅(jiān)持下去。一般來說，有一年左右的時(shí)間就可以書寫出一手漂亮的行書。","id":""}],"text":"","id":"doxcnSae6k0m0YiME0ijVWnv9dh"},{"type":"paragraph","children":[{"type":"text","text":"練習(xí)行書在開始的時(shí)候有一個(gè)適應(yīng)的階段，熟能生巧，從一個(gè)字到一段字，從幾個(gè)字、一行字到一篇字，逐漸掌握行書的規(guī)律，慢慢也就形成了屬于你自己的行書風(fēng)格。要善于從多方面吸取營(yíng)養(yǎng)，名人題字，商家牌匾，學(xué)校老師甚至是同學(xué)之間，只要認(rèn)真觀察，都可以找到別人寫的好字，學(xué)會(huì)了，就成了自己的字。","id":""}],"text":"","id":"doxcno6scGs40mgUwMPZyth6jQf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"行書技巧","id":""}],"text":"","id":"doxcnGgMkWIswy4aWI9CKClG7Yc"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"增加鉤挑與牽絲","id":""}],"text":"","id":"doxcnSOIwy6gug2yiILhCRiOt6b"},{"type":"paragraph","children":[{"type":"text","text":"楷書書寫要一筆一畫、工工整整，行書則不然，是將點(diǎn)畫連起來書寫，即所謂“相間流行”，所以行書書寫時(shí)在點(diǎn)心之間自然地出現(xiàn)或增加了由于用筆帶出來的鉤挑和牽絲。所謂鉤挑是在原來沒有鉤挑的點(diǎn)畫上，行筆時(shí)順勢(shì)寫出來短鉤，如“茂”等字。所謂牽絲則是在前后或上下筆本不相連的點(diǎn)畫之間，順筆勢(shì)帶出來細(xì)細(xì)的牽絲，如“發(fā)”“想”等字。在行書的點(diǎn)畫之間有了鉤挑與牽絲，則顯得筆勢(shì)流動(dòng)通暢和諧，意態(tài)自然，給人一種生機(jī)勃勃的感覺。","id":""}],"text":"","id":"doxcneoSwSyoMioA4QJLpgKMPgh"},{"type":"paragraph","children":[{"type":"text","text":"注意：","id":""}],"text":"","id":"doxcnEMm0Wiim0aYio9EpLvmFuc"},{"type":"paragraph","children":[{"type":"text","text":"鉤挑與牽絲不能使用太多太弱，用多了，到處都是鉤挑與細(xì)牽絲，顯得用筆不干凈利索，造型不美觀；太弱了，鉤腳如肉瘤，細(xì)絲如棉線，顯得軟弱無力，缺乏鐵畫銀鉤之健美。","id":""}],"text":"","id":"doxcnakEyKiscmICk0G1mqmDlhe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以圓轉(zhuǎn)代方折","id":""}],"text":"","id":"doxcniqCwKOsae0wOagvh8GZHDh"},{"type":"paragraph","children":[{"type":"text","text":"行書轉(zhuǎn)折處多采用草書圓轉(zhuǎn)的寫法，所以行書才顯得筆勢(shì)流暢。但需注意，行書的圓轉(zhuǎn)中隱含著折意，寫時(shí)仍需要駐筆、提按，否則圓潤(rùn)而無力，缺乏方圓兼?zhèn)洌街杏袌A，圓中有方之妙趣，如“后”、“落”、“生”等字。","id":""}],"text":"","id":"doxcnQkQiuCyiM28aC6EesvkF2d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"改變書寫筆順","id":""}],"text":"","id":"doxcnaEIAc6086uaKIzU1Jth3wg"},{"type":"paragraph","children":[{"type":"text","text":"小學(xué)老師強(qiáng)調(diào)寫字注意筆順，這確實(shí)是很重要，特別是楷書。然而在行書中，有時(shí)有意識(shí)地改變楷書的書寫筆順，而采用草書的筆順，其目的是便于書寫，同時(shí)也是為了造型的變化多姿，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":"一般地說行書寫法也足先上后下先左后右，先內(nèi)后外，但有時(shí)卻反其道而行之，倒也別有風(fēng)趣，如“風(fēng)”“國(guó)”字等，但也必須注意，改變書寫筆順一定要因勢(shì)利導(dǎo)，要合乎草書的規(guī)范。且不宜多，偶見則收，方能成趣，如果濫用成災(zāi)，使人乏味，就失敗了。","id":""}],"text":"","id":"doxcnugsYwQYcGMKSWYp4jcFAFe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"用筆靈活","id":""}],"text":"","id":"doxcnwiqGgAwkW22yeI4Qcpwe0d"},{"type":"paragraph","children":[{"type":"text","text":"行書比楷書用筆靈活多變，同樣的點(diǎn)畫可以這樣寫，可以那樣寫，不受約束。如“也”字的浮鵝鉤，一般是回鋒收筆而出。但如果勾端由上翻筆而下也可以。又如木字旁，一般是寫好橫畫和豎畫后、筆勢(shì)總是從左邊帶出撇挑，但從右邊挑筆而上，然后順筆就勢(shì)寫出撇挑，也有道理。如“楊”字。","id":""}],"text":"","id":"doxcnyKsSm8ee886g2vkKvARPab"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"起筆露鋒入紙","id":""}],"text":"","id":"doxcnoACYOUOiIiWEG48WX0lrwf"},{"type":"paragraph","children":[{"type":"text","text":"楷書無論是點(diǎn)、橫，還是撇、捺，都","id":""},{"type":"text","text":"強(qiáng)調(diào)","id":""},{"type":"text","text":"減鋒為主。而在行書中起筆處以露鋒人紙為多，因?yàn)槁朵h人紙，書寫起來比較簡(jiǎn)捷方便，自然流暢，例如“生”字的左豎，“紅”字的撇畫及“工”字橫畫的起筆，“河”字三點(diǎn)水的側(cè)點(diǎn)等，都是露鋒人紙。然而必須說明的是，上面所說的字雖然都是露鋒人紙，但不是隨便的順鋒搭下一寫，而是仍要“逆鋒”，只是這個(gè)“逆鋒”是要求凌空取勢(shì)，即搶鋒。不理解這一點(diǎn)，就會(huì)犯落筆尖細(xì)軟弱的毛病。","id":""}],"text":"","id":"doxcnIkGAgMgMogYqQHi9Fm9I7f"},{"type":"paragraph","children":[{"type":"text","text":"注意：","id":""}],"text":"","id":"doxcnEsugOog0QCUmEz5OzjipPg"},{"type":"paragraph","children":[{"type":"text","text":"露鋒入紙，取勢(shì)要求要快，寫出字來，筆意就生動(dòng)活潑．而藏鋒取勢(shì)較慢，筆意含蓄凝重。這兩種寫法各有所長(zhǎng)，我們書寫時(shí)相互結(jié)合摻用，這樣可以各得其所，相得益彰。一般說，行書開頭的起筆往往是露鋒入紙，而以下的承筆處則多數(shù)是藏鋒用筆。","id":""}],"text":"","id":"doxcnKIU0WQsqimACgZ0Ooo19Bb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以點(diǎn)代替其他筆畫","id":""}],"text":"","id":"doxcnGqaGISWekSeeyqOdiMEZxf"},{"type":"paragraph","children":[{"type":"text","text":"為書寫簡(jiǎn)便敏捷，行書常常以“點(diǎn)”來代替其他筆畫，以短小的“點(diǎn)”代替其他較長(zhǎng)大的筆畫，可以使字的結(jié)構(gòu)形態(tài)發(fā)生變化，造型更為別致。如將“京”，“影”字中的“小一字改寫為三點(diǎn)則更敏捷，字型發(fā)生了變化，顯得饒有趣味。又如“大”字，將捺筆寫成側(cè)點(diǎn)來表示，這樣書寫起來簡(jiǎn)捷流暢，造型也顯得精悍樸實(shí)，別具風(fēng)味。","id":""}],"text":"","id":"doxcn0guAaSMMWw2mW6V1Fkftvf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"體態(tài)多變","id":""}],"text":"","id":"doxcnKUgaEECkg4EMqauIuJBL1c"},{"type":"paragraph","children":[{"type":"text","text":"行書是介于楷書與草書之間的一種兼工帶寫的字體，它的使用范圍很廣，表現(xiàn)力豐富，常常一個(gè)字有幾種寫法，體態(tài)多變，姿態(tài)各異，如“是”字有四種寫法，四個(gè)姿態(tài)，結(jié)尾收筆各有不同，有收有放，亦工亦草，情趣盎然。再如“英、落、草、奠、花”同是草字頭，但寫法各不相同，生動(dòng)活潑，耐人尋味。如果同樣的字或是字頭字尾相同的字，寫得千篇一律，沒有變化，使人看了乏味，那就不稱其為書法了。","id":""}],"text":"","id":"doxcnaqOa8kqk2k6Qovm6Ldj4nc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"運(yùn)筆的技巧","id":""}],"text":"","id":"doxcneeqI0ywusu4czoZH24FIOi"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"中鋒行筆","id":""}],"text":"","id":"doxcneGuIc0uocgIsGuGt1mGzAg"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcngUEA42saWscQpHIIosixu5"},{"type":"image","attrs":{"height":109,"note":[{"type":"text","text":"中鋒行筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/b9fc9b409a5e45919ad0a4e8f23b622e","width":300},"text":"","id":"doxcngia4yI2662Myauvwn49odc"},{"type":"paragraph","children":[{"type":"text","text":"中鋒行筆就是要使筆鋒保持在點(diǎn)畫中間行筆。中鋒行筆是用筆的關(guān)鍵，是書法的生命。要能達(dá)到中鋒行筆，就要在行筆時(shí)掌握好掌豎、腕平、筆桿直，同時(shí)還要隨著墨液緩緩下流而不斷調(diào)正筆鋒，“令筆心常在點(diǎn)畫中行”。篆、隸、楷書是這樣，行書亦如此，如“乎”、“本”字除落筆和收筆外，中間所有的點(diǎn)畫都是中鋒行筆，“華”字亦是。","id":""}],"text":"","id":"doxcnMCWIcEGcuygcUhofpEsxbg"},{"type":"paragraph","children":[{"type":"text","text":"劃重點(diǎn)：中鋒行筆，筆跡圓潤(rùn)、道勁，妍美。","id":""}],"text":"","id":"doxcnQYkSEiW4EUscgj9N5R4AHg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"裹鋒轉(zhuǎn)筆","id":""}],"text":"","id":"doxcngMw6w8M2QwuY4jbqRnMirb"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnM0k68egCko2YICE5uZuMKu"},{"type":"image","attrs":{"height":111,"note":[{"type":"text","text":"裹鋒轉(zhuǎn)筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/a3f1f74ba91440eca160f080908baf98","width":280},"text":"","id":"doxcnMuE426Cuqq86su3N3cMtob"},{"type":"paragraph","children":[{"type":"text","text":"所謂裹鋒轉(zhuǎn)筆即是在轉(zhuǎn)折處，用筆使毫不能太鋪，要有所收斂，同時(shí)筆桿要稍加使轉(zhuǎn)，以圓轉(zhuǎn)代替方折，如“思”、“里”、“風(fēng)”字的轉(zhuǎn)角處即是。行書之所以比楷書書寫簡(jiǎn)便，其中一個(gè)原因，就是以圓轉(zhuǎn)代替方折。裹鋒轉(zhuǎn)筆，轉(zhuǎn)折處玲瓏流利，有一種活潑、自然的流動(dòng)感。蔡邕在《九勢(shì)》中所說的“轉(zhuǎn)筆宜左右回顧，無使節(jié)目孤露”就是指裹鋒轉(zhuǎn)筆。但要注意裹鋒轉(zhuǎn)筆處，必須圓轉(zhuǎn)中隱含折意，故書寫時(shí)仍需駐筆、提按，否則圓而無骨，缺乏方圓兼?zhèn)渲钊ぁ?,"id":""}],"text":"","id":"doxcnQu46uQc0ym0gkP5tazpsZb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"折鋒轉(zhuǎn)筆","id":""}],"text":"","id":"doxcngS4cYso6m2YOcbOPSqH22e"},{"type":"image","attrs":{"height":110,"note":[{"type":"text","text":"折鋒轉(zhuǎn)筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/e66bd61b140d4bc6904346a18fdde97a","width":280},"text":"","id":"doxcnowgQuu48qgiiQdPTWhB3ng"},{"type":"paragraph","children":[{"type":"text","text":"所謂折鋒轉(zhuǎn)筆，即轉(zhuǎn)筆時(shí)如同寫楷書一樣，先提后折，頓筆后再調(diào)鋒而下，只是書寫速度略快些，轉(zhuǎn)折處投有楷書那么方折，而是既看出是方折之意，又有圓渾之感，有骨有肉，骨肉兼?zhèn)洌此^“方中有回，圓中有方”。使人看了圓潤(rùn)、渾厚、勁挺。欲如此，則折鋒轉(zhuǎn)筆處要有方折的意味，折時(shí)要重些，輕重提按要一筆小茍，不能一筆帶過。折鋒轉(zhuǎn)筆寫出來的折畫，不僅要方而見骨，而且要給人一種風(fēng)骨挺立，神采飛揚(yáng)的感覺。如“曲”“故”“總”字。","id":""}],"text":"","id":"doxcn8wyoa6qcOS8Ql9BXBPfwbw"},{"type":"paragraph","children":[{"type":"text","text":"劃重點(diǎn)：行書中的折筆寫法，不外折鋒轉(zhuǎn)筆和裹鋒轉(zhuǎn)筆兩種用筆。折鋒轉(zhuǎn)筆外露，裹鋒轉(zhuǎn)筆內(nèi)含，各有千秋，但一般說在行書中以裹鋒轉(zhuǎn)筆為主，折鋒轉(zhuǎn)筆為輔。","id":""}],"text":"","id":"doxcnSuc4QYgOSeSiw3GsR6rf5d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"衄鋒勒筆","id":""}],"text":"","id":"doxcnCCSkiC0sgsoAQHudlfnOnh"},{"type":"image","attrs":{"height":116,"note":[{"type":"text","text":"衄鋒勒筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/ee8921fbd2e24f41bee540a4ea86cb3b","width":280},"text":"","id":"doxcnIuoC8QGaG8ckCkeRkIAxdh"},{"type":"paragraph","children":[{"type":"text","text":"衄鋒勒筆，就是點(diǎn)畫中間稍用力頓挫一下，再中鋒勒筆而出。衄鋒勒筆大多數(shù)是用在反撩與撇的交接處，如“又”、“文”、“交”字的反捺中間用筆。衄鋒勒筆，用筆收斂蓄勢(shì)，短小精悍，而形態(tài)也有變化。這種用筆米芾書法中常用。","id":""}],"text":"","id":"doxcnk6Q0UwySuKaWiAzqUyGUjc"},{"type":"paragraph","children":[{"type":"text","text":"劃重點(diǎn)：衄鋒勒筆在衄鋒時(shí)要有力，勒筆處要迅速，捺畫末筆要收得住。","id":""}],"text":"","id":"doxcnG8CMY4Ye22AKIHeQrF9Abd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"提鋒連筆","id":""}],"text":"","id":"doxcnuIWimwEq2qQmmnFHSUH1qd"},{"type":"image","attrs":{"height":122,"note":[{"type":"text","text":"提鋒連筆","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/b8816a1af38948ea9a5bf430e6208ec6","width":280},"text":"","id":"doxcnq0A0AmEIo0Uqao9WVG9P8b"},{"type":"paragraph","children":[{"type":"text","text":"提鋒連筆即提筆連鋒，也就是在點(diǎn)畫相連處用筆提而不斷，鋒尖著紙帶出牽絲。凡是點(diǎn)畫間有牽絲相連者都是提筆連鋒用筆。這種用筆的好處是：“是點(diǎn)畫處皆重，非畫處，偶相牽引，其筆皆輕。”（姜夔《續(xù)書譜》）且主次分明叉遞相映帶，如","id":""},{"type":"text","text":"“墨”、“照”、","id":""},{"type":"text","text":"“然”的點(diǎn)畫牽引處。","id":""}],"text":"","id":"doxcnO4ksAMciK6CwiGcmqcHKJf"},{"type":"paragraph","children":[{"type":"text","text":"在書寫過程中，提和按，連和斷，互為辯證的關(guān)系。提鋒連筆是牽絲的寫法，非牽絲處都是字的實(shí)畫。我們?cè)趯W(xué)習(xí)過程中，一定要注意用筆要實(shí)，不能虛，用筆要按不能提。只有按得下，方能提得起，只有實(shí)是實(shí)，方能虛是虛。","id":""}],"text":"","id":"doxcnA84wuMOIoiSsi6Dopt0Xoe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"字組黃金法則","id":""}],"text":"","id":"doxcnCgiGA8W6kM2SkL0gdQzkRg"},{"type":"paragraph","children":[{"type":"text","text":"書法的形式是各種造型的組合關(guān)系。例如點(diǎn)畫與點(diǎn)畫的組合、結(jié)體與結(jié)體的組合、字組的組合、行的組合、區(qū)域的組合，直至筆墨與空白的組合等。這些組合從小到大，隨著組合關(guān)系的不斷擴(kuò)大，審美內(nèi)涵也逐漸豐富。","id":""}],"text":"","id":"doxcn4oaEoKI4UQYEIJH05D2rVU"},{"type":"paragraph","children":[{"type":"text","text":"行書的結(jié)構(gòu)和章法的規(guī)則要求主要是：結(jié)體大小輕重要適當(dāng)，長(zhǎng)短縱橫要合度，疏密黑白要相稱，左右欹正相呼應(yīng)，使之錯(cuò)落變化，氣勢(shì)貫通，協(xié)調(diào)統(tǒng)一，神定氣足。","id":""}],"text":"","id":"doxcnsaiImSecgksk8cz3YH93ec"},{"type":"paragraph","children":[{"type":"text","text":"以米芾的《苕溪詩(shī)帖》為例子，來窺探米顛他這部曠世作品里常見字與字之間的呼應(yīng)的關(guān)系，進(jìn)行一個(gè)簡(jiǎn)單的總結(jié)和歸類。","id":""}],"text":"","id":"doxcn0k0GoAkk4M0iuGds7YbXjh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"欹正組合","id":""}],"text":"","id":"doxcni0IM0WgG6uWwOcCtdiZNGb"},{"type":"paragraph","children":[{"type":"text","text":"欹正是指部分偏旁、部首或局部作傾斜、欹側(cè)處理，又能傾而不倒，平中寓奇，增加字的變化和意外的奇趣。欹正得體就是說，歪的與正的陰陽配合到完美，指字寫的很完美。","id":""}],"text":"","id":"doxcnecmUemeyK40OCY8jRsbSsg"},{"type":"image","attrs":{"height":546,"note":[{"type":"text","text":"欹正組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/178baa7a39ff4180878c9ed9d61495ac","width":318},"text":"","id":"doxcnEscwYay0OiS6k37NVA6jvg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"濃淡組合","id":""}],"text":"","id":"doxcnGqScguEQ08IGoPL2bznMkf"},{"type":"paragraph","children":[{"type":"text","text":"書法是通過墨來表現(xiàn)的，墨法是書法的四大要素之一被書家重視。墨色的變化，一般有“濃、淡、干、濕、漲”。作品中的墨色的深淺枯潤(rùn)，可以造成雄奇或秀媚的書法意境。","id":""}],"text":"","id":"doxcnUme0EWuA8cSuApvrE9e3Td"},{"type":"image","attrs":{"height":568,"note":[{"type":"text","text":"濃淡組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/e39795a3e25a4b60a9daf8c4009042ba","width":286},"text":"","id":"doxcnMMAiMamqmsyCqIXIP2QLMd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"大小組合","id":""}],"text":"","id":"doxcn8qEswQyYs2sUwBccUgTHhb"},{"type":"paragraph","children":[{"type":"text","text":"在行書作品中，字的大小是賓主關(guān)系，主次分明。把較大的筆畫較粗的主字分布原則掌握了，較小的筆畫較細(xì)的字分布原則也是一樣的。","id":""}],"text":"","id":"doxcnUYgkWwG2Wc0qGk32NxN1Eb"},{"type":"image","attrs":{"height":541,"note":[{"type":"text","text":"大小組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/6ff3fa39d3524981ac0cad71137a2061","width":314},"text":"","id":"doxcnCWWosyC0Ew0UKC7akSyYQd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"行書與草書組合","id":""}],"text":"","id":"doxcnqWskck4EEGiuI5iXwtxs6e"},{"type":"paragraph","children":[{"type":"text","text":"首先是字型結(jié)構(gòu)方面，草書的字型變化很大，大小不一，不是內(nèi)行的話一般很難辨認(rèn)。而行書大小就比較一致了，看起來很工整。其次是筆法方面，草書筆法相對(duì)復(fù)雜些，且運(yùn)筆較疾。而行書相對(duì)緩和，其鋒刃體現(xiàn)在字形上，和草書有所區(qū)別。最后是章法。草書的章法是在起承轉(zhuǎn)合中一氣呵成，有一種大將風(fēng)范。而行書則像一位隱士，不失工整，卻又不乏氣場(chǎng)。","id":""}],"text":"","id":"doxcnEYAKa2QISWGYKOvqhRwg4e"},{"type":"image","attrs":{"height":277,"note":[{"type":"text","text":"行書與草書組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/90383df048a94afdbec0e50c6e363e1b","width":136},"text":"","id":"doxcnqOQYg2CCYMWGOMPK5jJuHf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"粗細(xì)組合","id":""}],"text":"","id":"doxcneMYkwY4WawKOc56ueSLn4e"},{"type":"paragraph","children":[{"type":"text","text":"線條，尤其是行書的線條，其輕、重、長(zhǎng)、短、粗、細(xì)、濃、淡、枯、潤(rùn)等等，變化無窮，儀態(tài)萬千，技法俱分高下，情態(tài)盡在其中。難怪有人說書法是“線條藝術(shù)”。","id":""}],"text":"","id":"doxcniAesYqomOaiWQNzPg6UB5s"},{"type":"paragraph","children":[{"type":"text","text":"行書線條有其藝術(shù)法則的規(guī)范性。不是任何隨意抹畫出來的線條都可稱之為行書藝術(shù)的線條，他們必須符合行書法則規(guī)范性要求并經(jīng)過長(zhǎng)期技法訓(xùn)練之后才能被書者所擁有。","id":""}],"text":"","id":"doxcn8ciuaicgyg4mcnCRoD7lNf"},{"type":"paragraph","children":[{"type":"text","text":"這種規(guī)范性要求是客觀的，不依書者主觀意志為轉(zhuǎn)移。書者只有在掌握了規(guī)范性要求的前提下方能發(fā)展和張揚(yáng)其個(gè)性。區(qū)分寫字與書法，必須首先看其是否具有“法度意識(shí)”即“規(guī)范意識(shí)”，是否符合規(guī)范性要求。","id":""}],"text":"","id":"doxcnEwwgcSeMyww2aeKnEQXzRf"},{"type":"image","attrs":{"height":456,"note":[{"type":"text","text":"粗細(xì)組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/62577865b9774ead80d124185e270c4d","width":293},"text":"","id":"doxcnUIcoak4Q6o2gUrpXEqE4Sf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"連體組合","id":""}],"text":"","id":"doxcnOeQ8EO8Ge8oCkpN9t60Dze"},{"type":"paragraph","children":[{"type":"text","text":"連畫寫法在行書中，除了橫、豎、撇、挑、捺、點(diǎn)、折、勾外，還常常有多個(gè)筆畫連在一起寫的情況，簡(jiǎn)稱連筆或連畫。連畫的式雖然紛繁復(fù)雜，但分解起來，無非是直線弧線、轉(zhuǎn)和折的組合。直線和爪線較易分辨，也較易書寫，只要及時(shí)運(yùn)腕，做到中鋒行筆即可，比較不易分清的是轉(zhuǎn)和折。書寫復(fù)雜的連畫時(shí)，必須注意靈活運(yùn)腕和轉(zhuǎn)折相間等原則。","id":""}],"text":"","id":"doxcnSYMSMI6UUa4mmSraJJaudd"},{"type":"image","attrs":{"height":470,"note":[{"type":"text","text":"連體組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/867370770bee4648afd8b7559b887f80","width":302},"text":"","id":"doxcnYSgAmUkc6GEEkLOyNZIRzd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"橫縱組合","id":""}],"text":"","id":"doxcnow2sCMeKYaiIoDvLXjC6af"},{"type":"paragraph","children":[{"type":"text","text":"主要表現(xiàn)為點(diǎn)畫、部件或整體字形的長(zhǎng)寬比例。楷書字形一般比例較為穩(wěn)定，而行書則常隨時(shí)進(jìn)行調(diào)整。","id":""}],"text":"","id":"doxcnKc6gwMmueAKaeyTt7dXJRc"},{"type":"image","attrs":{"height":471,"note":[{"type":"text","text":"橫縱組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/75cbdf604198417e941ffd11199370f0","width":286},"text":"","id":"doxcn46OwQwoQYqg42THs98t3wd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"省略組合","id":""}],"text":"","id":"doxcnk2CMU64sEm0gSw548IE2VX"},{"type":"paragraph","children":[{"type":"text","text":"一般情況是凡字的固有筆畫則重些，而兩畫之間的連接相應(yīng)輕些，但不可截然跳動(dòng)，否則呆板無神。牽絲形成連的效果是行書的主要特征之一，但卻要運(yùn)用得當(dāng)。一味的牽連纏繞，當(dāng)斷不斷，反而弄巧成拙，形成浮滑薄弱之病，是行書書寫中的大忌。一位書法家講過“連與斷效果不同，連易斷難，故當(dāng)知斷”。因此將牽絲引帶與點(diǎn)畫呼應(yīng)分開來講以區(qū)別它們的不同功用，這是行書的又一重要特征。","id":""}],"text":"","id":"doxcnGImMyA66WGGool6dUqeHSc"},{"type":"image","attrs":{"height":398,"note":[{"type":"text","text":"省略組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/dc641cc48d504137ae1d6796c42db352","width":306},"text":"","id":"doxcnW6AugC6ugCAKitgHX6I5li"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"疏密組合","id":""}],"text":"","id":"doxcnk2yOeIS0umQWukupaUWQNc"},{"type":"paragraph","children":[{"type":"text","text":"疏密體現(xiàn)在結(jié)字上，就是要加強(qiáng)對(duì)比，制造視覺反差。如勢(shì)巧形密與意疏字緩。","id":""}],"text":"","id":"doxcnMeOasy4IwcuOaAdwZORYlf"},{"type":"image","attrs":{"height":607,"note":[{"type":"text","text":"疏密組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/92eda23dfa57419bb10a5294d3b4054c","width":304},"text":"","id":"doxcnCoQyKuwCY4GWaCi7rmcChh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"排列組合","id":""}],"text":"","id":"doxcnQ0U6suWSYA2k8huiC9BcTf"},{"type":"paragraph","children":[{"type":"text","text":"從漢字的特點(diǎn)和人的生理習(xí)慣來看，因?yàn)槭怯沂謱懽郑笫謭?zhí)冊(cè)個(gè)字的筆順自然是從上至下，自左而右的方便。如果從右往左寫，寫左半部時(shí)，毛筆勢(shì)必?fù)踝∮野胱中危槐阌诎才沤Y(jié)構(gòu)，影響結(jié)字的美觀。而每個(gè)漢字的未筆都是在中下或右下，寫完上一字的末筆緊接著寫下一字的起筆，豎式書寫比橫式書寫更方便，更便于筆勢(shì)的連貫。","id":""}],"text":"","id":"doxcnw6AOCwqy2iiUsNlHTucuBc"},{"type":"image","attrs":{"height":594,"note":[{"type":"text","text":"排列組合","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/cf2f1f640bed423d989fc7662315b362","width":291},"text":"","id":"doxcnKc4yU0sy0iYYagtL6U79fc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"十大行書","id":""}],"text":"","id":"doxcnUKCEOaSMIg4kj6MxFAZVw3"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第一行書","id":""}],"text":"","id":"doxcn2EYocUG0IUUusjL56LBAOb"},{"type":"paragraph","children":[{"type":"text","text":"《蘭亭序》是王羲之47歲時(shí)的書作，記述的是王羲之和友人雅士會(huì)聚蘭亭的盛游之事。全篇從容嫻和，氣盛神凝，逸筆天成，匠心獨(dú)運(yùn)而又不毫無安排造作的痕跡。這樣資質(zhì)超群、功力深厚的作品，被評(píng)“為天下第一行書”，確實(shí)是當(dāng)之無愧的。","id":""}],"text":"","id":"doxcnioSqq20aKCiW7RFRfehbED"},{"type":"image","attrs":{"height":640,"note":[{"type":"text","text":"第一行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/2733fc0c42c34dd7a219da258e5c430b","width":1951},"text":"","id":"doxcngIa6o2qoUKoW0gQhOqmnHd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第二行書","id":""}],"text":"","id":"doxcn2mW26Oykc0uYsrwqZu8uRc"},{"type":"paragraph","children":[{"type":"text","text":"《祭侄文稿》，全名《祭侄贈(zèng)贊善大夫季明文》。原作紙本，縱28.8厘米。橫75.5厘米，共234字(另有涂抹字30余個(gè))。現(xiàn)藏臺(tái)北故宮博物院。顏真卿這篇《祭侄文草稿》是在極度悲憤的情緒下書寫，顧不得筆墨的工拙，故字隨書家情緒起伏，純是精神和平時(shí)功力的自然流露。這在整個(gè)書法史上都是不多見的。可以說，《祭侄文稿》是極具史料價(jià)值和藝術(shù)價(jià)值的墨跡原作之一，至為寶貴。","id":""}],"text":"","id":"doxcn2WayUS8SKU82OIzjUPZrDg"},{"type":"image","attrs":{"height":640,"note":[{"type":"text","text":"第二行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/55f564bd244a488f873420c8cc5a08f6","width":1892},"text":"","id":"doxcnMW8GUQwYKm42aAFdDMZMSh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第三行書","id":""}],"text":"","id":"doxcniiK0g2u0i0QwiiiupSSjPd"},{"type":"paragraph","children":[{"type":"text","text":"《黃州寒食詩(shī)帖》，紙本，25行，共129字，是蘇軾行書的代表作。這是一首遣興的詩(shī)作，是蘇軾被貶黃州第三年的寒食節(jié)所發(fā)出的人生之嘆。詩(shī)寫得蒼涼多情，表達(dá)了蘇軾其時(shí)惆悵孤獨(dú)的心情。《黃州寒食詩(shī)帖》彰顯動(dòng)勢(shì)，洋溢著起伏的情緒。元朝鮮于樞把它稱為繼王羲之《蘭亭序》、顏真卿《祭侄稿》之后的\"天下第三行書\"。","id":""}],"text":"","id":"doxcneeW2se8eo6sOgHjTXo6OSg"},{"type":"image","attrs":{"height":349,"note":[{"type":"text","text":"第三行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/90b2d9bc09dd4ba88fc8696728112a7e","width":1112},"text":"","id":"doxcn62cWE4MyG0muKSd1uTQstg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第四行書","id":""}],"text":"","id":"doxcnOuiE0OuW2GWEWwpaHhMBch"},{"type":"paragraph","children":[{"type":"text","text":"《伯遠(yuǎn)帖》行書紙本，因首行有“伯遠(yuǎn)”二字，遂以帖名。此帖為晉代真跡，王珣書，故列希珍之寶。此帖行書，筆力遒勁，態(tài)致蕭散，妍媚流便，是典型的王氏書風(fēng)。是帖明末在新安吳新宇處，后歸吳廷，曾刻入《馀清齋帖》，至清代時(shí)歸入內(nèi)府，并與王羲之《快雪時(shí)晴帖》、王獻(xiàn)之《中秋帖》同列為三希堂法帖之一，現(xiàn)藏北京故宮博物院。","id":""}],"text":"","id":"doxcnamGYYI80IO0WxrvscdfNFe"},{"type":"image","attrs":{"height":777,"note":[{"type":"text","text":"第四行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/99fcf6f49e0e4e6688ac9ca0a6a3f573","width":640},"text":"","id":"doxcn8KWE0Q2YY2YmqUH1DjoBgg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第五行書","id":""}],"text":"","id":"doxcnaSq8M6wsaemqaotPOhcxWe"},{"type":"paragraph","children":[{"type":"text","text":"《韭花帖》，楊凝式書，墨跡麻紙本，高26厘米，寬28厘米，共7行，63字。《韭花帖》是一封信札，內(nèi)容是敘述午睡醒來，腹中甚饑之時(shí)，恰逢有人饋贈(zèng)韭花，韭花非常可口，遂執(zhí)筆以表示謝意。","id":""}],"text":"","id":"doxcnGs6aQk2IMmASC45hI5IY7c"},{"type":"image","attrs":{"height":611,"note":[{"type":"text","text":"第五行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/12394805404042cf86627f9aa507bb23","width":640},"text":"","id":"doxcnwEcGaaQCc8mmw3MOWCSlxh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第六行書","id":""}],"text":"","id":"doxcnmC6EgUC8YkcoK2oF7Cbmhb"},{"type":"paragraph","children":[{"type":"text","text":"《蒙詔帖》，墨跡紙本，又名《翰林帖》，高26.8厘米，長(zhǎng)57.4厘米，大字行書，計(jì)7行，27字，書于長(zhǎng)慶元年(公元821年)，當(dāng)時(shí)柳公權(quán)四十四歲，年富力強(qiáng)，正是他書法創(chuàng)作的顛峰期，所以字如驚鴻擊空。","id":""}],"text":"","id":"doxcnQSMUucgqigUiGcVl4YLSFf"},{"type":"image","attrs":{"height":502,"note":[{"type":"text","text":"第六行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/94a1be7e5ee4433a9b05463e96f5adee","width":1280},"text":"","id":"doxcnauIusG0AIUOGOknFIJAwAe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第七行書","id":""}],"text":"","id":"doxcnsuGQwkq2oWUyeONi6xcCb0"},{"type":"paragraph","children":[{"type":"text","text":"《張翰思鱸帖》也稱《季鷹帖》，是歐陽詢?yōu)閺埡矊懙男鳎瑢儆谛锌瑹o款。紙本，縱25.2厘米，橫33厘米。共10行，每行九至十一字。字體修長(zhǎng)嚴(yán)謹(jǐn)，筆力剛勁挺撥，風(fēng)格平正中見險(xiǎn)峻之勢(shì)，是歐書中的精品。","id":""}],"text":"","id":"doxcn4QCm028O2GksUTn7C2Ttvg"},{"type":"image","attrs":{"height":518,"note":[{"type":"text","text":"第七行書","id":""}],"url":"https://p3.douyinpic.com/large/tos-cn-i-qvj2lq49k0/06853ef03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oris手表價(jià)格查詢?nèi)啃吞?hào)
天梭最普通的經(jīng)典款在上海售價(jià)是2700左右。 參照網(wǎng)上的報(bào)價(jià) 估計(jì)RM3146OL在2700之下。 不過俄羅斯奢侈品大概要比大陸貴一到二成，例如國(guó)內(nèi)ORIS手表14000的航空表，俄羅斯要16000
