行書練習技巧？
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，點畫略帶呼應，就是行書。行書寫起來比楷書快，又比草書容易識認，所以是應用最廣的書體。它既實用，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
正確的書寫姿勢不只是為了好看，還可以使書寫技能得到充分、有效地發揮，有助于書寫者的身心健康。書寫姿勢同時也反映出書寫者的修養，只有身正才會字正。正確的姿勢應是頭正、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。
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，內側保持平行，兩腳平放地上，使全身平衡。正確的書寫姿勢，才能使字寫得端正，重心平衡。同時，正確的姿勢也會給人的身體帶來益處。
執筆方法
執筆方法不正確，不但妨礙書寫姿勢，影響書寫質量，還會給書寫者身心健康帶來危害，不可忽視。根據筆的自身特點，硬筆是三指執筆法，斜拿。
正確的執筆方法：
①用拇指、食指、中指三個指頭捏住筆桿（三指處于同一平面）；
②指尖距筆尖約2.5cm~3cm（兩指左右）；
③所有指關節都向外彎；
④筆桿位于食指的根部（如下圖）。
同時，還要做到：
①指實：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。小指的整個底部形成一個環形底座，虛貼桌面。
③桿斜：筆桿向右后方傾斜，緊靠在食指第三關節與虎口方向，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，宜于精離細琢。
練習方法
選筆
鋼筆
具備一支書寫流暢的鋼筆，是開始練習行書的基礎條件。眾所周知，隨著技術的發展進步，簽字筆已經深入到社會生活的各個方面，我們在絕大部分時候都是使用簽字筆來寫字，使用鋼筆的時候比較少。但是想要練習好行書，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，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的行書字體進行模仿練習是練習行書的基本方法。我們常說先學會走路再學會跑，如果還沒有學會走路是不可能學會跑的。練習行書也是如此，首先是要學會名家的習作，學會他們的書寫方式，照著樣子先臨摹、描紅，然后再過渡到自己來練習書寫。在具體選擇的時候，一定要選用包括常用字在內的字帖，這樣更加有利于今后的具體實踐使用。
適合練習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。
堅持練習
寫好行書并非一朝一夕之功，需要長時間的練習才能成功。對于初學者來說，如果有一定的書法基礎，可以很快上手練習行書。如果還沒有練習其他字體的書法基礎，最好是先練習正楷字、鋼筆字然后再過渡到行書的書寫，這是學習的一個循序漸進的過程。因此，練習行書沒有捷徑可以走，有的就是每天堅持練習，持之以恒地堅持下去。一般來說，有一年左右的時間就可以書寫出一手漂亮的行書。
連筆意識訓練
通過筆畫練習
要寫好硬筆行書，首先要了解行書的運筆特點，即行書是流動的楷書，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練，逐漸掌握行書運筆要領，為寫好行書奠定基礎。
1、點畫：行書點雖小，但很重要，起著筆畫的起止、過渡、裝飾、承上啟下、畫龍點睛的作用。點有獨立點、組合點兩種。
獨立點，寫法如楷書筆畫中撇點，右下頓筆由輕到重轉向左下，方向視下一筆畫起筆位置而定。
組合點，橫式排列、豎式排列，重點體現出點與點之間的呼應關系。
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，短橫有時處理成點，數橫并存忌平行劃一，要姿態各異。
短橫：起筆輕，收筆重，末端收筆可向左下勾出，以呼應下一筆。
長橫：起筆向左下輕落筆，快而有力向右運筆，駐筆后左下方出鋒運筆中間輕、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；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，往往左側向左凸，右側向右凸。
4、撇畫：撇在字中是支撐重心作用，具有較強的運動感，其特點飄逸勁健，靈動活潑。
小撇：乃字之精神，寫法與楷書同。要注意長短、粗細及筆的走向，出鋒銳利。
長撇：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，姿態飄逸，一波三折，給人以流動的美。
斜捺：由輕到重再輕收筆出鋒，與左撇呼應，行書中亦可寫成反捺或捺點：
平捺：寫法同捺，關鍵把握好它的角度和長短。
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），要做到穩重而有氣勢，體現出內在力量。
橫鉤：逆勢起筆與上筆遙相呼應，轉角處不必像楷書那樣嚴格，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，對字包圍之勢，書寫要有力度，筆勢內聚，使字不散。
豎折：由上至左下快速落筆，蓄勢向右上方徐徐運筆，中間微上凸；
橫折：起筆重落，徐向右運筆，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
偏旁部首是筆畫的初步組合，雖然行書沒有一定書寫規則，但筆畫走向卻有相對固定寫法。因此，我們依照人們的書寫習慣，約定俗成的寫法來領會，并舉一反三。
一、偏旁部首的練習
二、偏旁部首在字中不同位置的變化寫法訓練
偏旁部首出現于字的上、下、左、右、里、外不同位置時，寫法也不盡相同，使得漢字書寫千變萬化。我們了解了這些變化要領，就可以觸類旁通，掌握書寫規則，熟習它們的變化規律，舉一反三，就可收到事半功倍的效果。
1、土部在左時豎畫偏右，下橫改提以讓右；在字右部時，兩橫間距拉開：在字上、下時，兩橫間距緊湊，避免結構松散。
2、火部在字左側斜撇改為豎撇，捺變點收縮；居字上部筆畫收縮，改捺為點；如在字右部或下部撇捺向兩邊伸展。
3、木部在左時橫短豎長且偏右，捺改點；在右時橫短豎長，撇捺伸展；在字上豎較短，撇捺張開；在字下橫畫長，豎帶鉤，撇捺改點。
4、日部豎畫柔和自然，橫折與豎畫協調，中橫居中不要太滿，底橫不可超出右豎。作左偏旁時較窄；在字右部地位適中。
5、月部豎撇較長，里面兩橫偏上不寫滿。月旁在左寫得瘦窄些；在右側寫得豐滿些。
6、方部點斜取勢，橫與點保持間距，彎鉤重心。方在左橫畫右邊不能長；在字下部點與橫相交。
7、石部在左位置偏上，字形略小，以讓右；在字下部要橫長撇短；品字結構要上正左小右大。
8、耳部筆順先橫后豎再三橫，在字左懸針改垂露，下橫變提在右側稍豐滿些；居字上部懸針短。
9、米部在字左側時橫短豎長，捺變點；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；在右時，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、盼照應的規律。 三、相似偏旁部首的區別訓練 行書寫法簡省筆畫，再加之勾挑、牽絲相連，從而出現一些相似部首容易混淆。
因此，我們有必要對其分析，找出規律、異同，掌握正確的書寫方法。 1、言字旁和三點水二者主要區別在第二筆。言字旁橫折提的橫折處實、重；三點水第二筆為右點收筆與第三筆虛連、輕。
2、提手旁和牛字旁都是一筆完成。區別是提手旁第一筆為橫，牛字旁是撇折，因此，提手旁第一筆逆勢過大很容易寫成牛字旁。
3、木字旁與反犬旁區別：
①第一筆筆畫和筆勢不同，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，筆勢直；反犬為彎鉤，筆勢弧形。
4、奉字頭與卷字頭區別在首筆，奉字頭是橫，卷字頭為合兩點，如將合兩點寫得過近，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、筆勢相同，區別在最后一橫。四字頭橫畫縮在左豎與右折鉤內，而血字橫將二者托起。
6、立字旁和足字旁下部完全一樣，不同點在上部：立旁是右點加斜橫，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、示字旁與禾字旁區別在于起筆不同：示旁右點帶鉤呼出橫畫，禾旁為小撇，呼出橫畫；橫豎畫轉接處不同，示旁在下部，禾旁在上部。
8、貝字旁與欠字旁運筆方法基本相同。要區分二者，第一、欠旁起筆為撇而且較長，撇出后回筆短；貝旁起筆豎且短，回鋒長。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、筆勢完全相同，區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。
10、絞絲旁與雙人旁二者最大區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。
通過具體字訓練
筆畫與偏旁是結字的基礎，最終要結合成端莊、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的，不是僵死的；筆畫之間是呼應的，而不是孤立的這種連帶或筆斷意連意識。
1、連橫訓練
2、連豎訓練
3、豎連橫訓練
4、連橫連豎訓練
5、橫豎橫相連訓練
6、其它筆畫相連的訓練
毛筆行書
基本技法
筆法
筆法指執筆和用筆，寫行書的人一般都練習過楷書，所以執筆和用筆都有了基礎。但是，行書的筆法比楷書要豐富得多。要做到中鋒用筆，方圓兼備，中、側鋒并用，點畫之間以牽絲映帶、似連非連、筆斷勢連的形式貫通氣脈。
點畫寫法
行書點畫要注意呼應，同時應在平整中取攲側之勢，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，運筆快慢要得疾澀相生之意。圓轉處要勁氣內斂，方折處要如削金斷玉，明快潔凈。
結構
行書結構千變萬化，但基本原則是要重心平穩，變化自然，顧盼呼應。行書多用奔放之筆取攲側之勢，但無論如何奔放也要重心平穩，特別是攲側中站穩重心，這種奇正相成的結構是行書的特點。行書多變化，變化要順乎自然。字行大小、疏密、長短、伸縮、開合、俯仰、向背等自然之行，初寫時要盡各字真態、本色，切忌故意造作，制奇弄險，走入流俗，能得自然之美方是真本領。至于點畫之間顧盼生情，相互呼應要如聞其聲，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。字與字之間要有內在聯系，行與行之間要有意態呼應。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、疏密對比、伸縮之宜都要合乎自然，章法要如音樂之旋律，如詩詞之有聲律。詩詞的“平平仄仄平平仄”抑揚頓挫，一如行書的疏密奇正伸縮，對比中求和諧，對立中求統一。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。
練習方法
選筆
初學者在書寫行書時，不論是行草還是行楷，因對毛筆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點，較為容易上手，而且使用兼毫吸墨量適宜，不會導致初學者在書寫行書時停頓出現墨水團影響紙面。
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，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。挑選筆桿時要看筆管是否圓正光滑，不癟、不裂、不彎、不斜，長短適度。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，筆頭有無發霉、蟲蛀現象。先用手輕輕晃動筆頭，不能出現松動現象，再輕輕彈筆桿，看是否有掉毛，有毛掉睛，不是蟲蛀，便是發霉。檢查毛筆筆頭是否發霉，還可以聞聞有無霉味。
選字帖臨摹
(1）挑選字帖。挑選一本孩子比較喜愛的、點畫比較工整的、結體比較勻稱的字帖來臨摹。毛筆字帖，應挑選字體小一點的字帖，這樣可省去縮小的工夫。
(2）先摹后臨、臨摹結合在習字時，要先摹后臨、臨摹結合。毛筆照著字帖上的字一點一畫地描紅。要求寫的筆跡不要越出字帖字外，都寫在字帖上字的點畫中間。這樣，久而久之，就容易學到字帖上字的結構。所謂臨，就是把字帖放在習字紙旁；照著帖上的字依樣畫葫蘆。要求點畫寫得象，有輕重節奏和粗細的變化。這樣，久而久之，就容易學到字帖上字的筆意。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字手段，因此要臨摹結合，循序漸進。
(3）仔細讀貼。再者，臨摹前要仔細讀帖。對帖上的字，其點畫怎樣書寫，結構怎樣安排，章法怎樣布置，都要仔細琢磨并從中找出規律，這樣就容易寫得有興趣，也容易寫得象，寫得好。臨摹時，不能貪多貪快，每天堅持一、二小時，反復地臨摹幾個字，這樣才會有真正的收獲。對難寫的字，更要知難而上，多臨摹，多比較。
堅持練習
練習，持之以恒地堅持下去。一般來說，有一年左右的時間就可以書寫出一手漂亮的行書。
練習行書在開始的時候有一個適應的階段，熟能生巧，從一個字到一段字，從幾個字、一行字到一篇字，逐漸掌握行書的規律，慢慢也就形成了屬于你自己的行書風格。要善于從多方面吸取營養，名人題字，商家牌匾，學校老師甚至是同學之間，只要認真觀察，都可以找到別人寫的好字，學會了，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，是將點畫連起來書寫，即所謂“相間流行”，所以行書書寫時在點心之間自然地出現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畫上，行筆時順勢寫出來短鉤，如“茂”等字。所謂牽絲則是在前后或上下筆本不相連的點畫之間，順筆勢帶出來細細的牽絲，如“發”“想”等字。在行書的點畫之間有了鉤挑與牽絲，則顯得筆勢流動通暢和諧，意態自然，給人一種生機勃勃的感覺。
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，細絲如棉線，顯得軟弱無力，缺乏鐵畫銀鉤之健美。
以圓轉代方折
行書轉折處多采用草書圓轉的寫法，所以行書才顯得筆勢流暢。但需注意，行書的圓轉中隱含著折意，寫時仍需要駐筆、提按，否則圓潤而無力，缺乏方圓兼備，方中有圓，圓中有方之妙趣，如“后”、“落”、“生”等字。
改變書寫筆順
小學老師強調寫字注意筆順，這確實是很重要，特別是楷書。然而在行書中，有時有意識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，先內后外，但有時卻反其道而行之，倒也別有風趣，如“風”“國”字等，但也必須注意，改變書寫筆順一定要因勢利導，要合乎草書的規范。且不宜多，偶見則收，方能成趣，如果濫用成災，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、筆勢總是從左邊帶出撇挑，但從右邊挑筆而上，然后順筆就勢寫出撇挑，也有道理。如“楊”字。
起筆露鋒入紙
楷書無論是點、橫，還是撇、捺，都強調減鋒為主。而在行書中起筆處以露鋒人紙為多，因為露鋒人紙，書寫起來比較簡捷方便，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”字三點水的側點等，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“逆鋒”是要求凌空取勢，即搶鋒。不理解這一點，就會犯落筆尖細軟弱的毛病。
注意：
露鋒入紙，取勢要求要快，寫出字來，筆意就生動活潑．而藏鋒取勢較慢，筆意含蓄凝重。這兩種寫法各有所長，我們書寫時相互結合摻用，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是藏鋒用筆。
以點代替其他筆畫
為書寫簡便敏捷，行書常常以“點”來代替其他筆畫，以短小的“點”代替其他較長大的筆畫，可以使字的結構形態發生變化，造型更為別致。如將“京”，“影”字中的“小一字改寫為三點則更敏捷，字型發生了變化，顯得饒有趣味。又如“大”字，將捺筆寫成側點來表示，這樣書寫起來簡捷流暢，造型也顯得精悍樸實，別具風味。
體態多變
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，表現力豐富，常常一個字有幾種寫法，體態多變，姿態各異，如“是”字有四種寫法，四個姿態，結尾收筆各有不同，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。
運筆的技巧
中鋒行筆
中鋒行筆就是要使筆鋒保持在點畫中間行筆。中鋒行筆是用筆的關鍵，是書法的生命。要能達到中鋒行筆，就要在行筆時掌握好掌豎、腕平、筆桿直，同時還要隨著墨液緩緩下流而不斷調正筆鋒，“令筆心常在點畫中行”。篆、隸、楷書是這樣，行書亦如此，如“乎”、“本”字除落筆和收筆外，中間所有的點畫都是中鋒行筆，“華”字亦是。
劃重點：中鋒行筆，筆跡圓潤、道勁，妍美。
裹鋒轉筆
所謂裹鋒轉筆即是在轉折處，用筆使毫不能太鋪，要有所收斂，同時筆桿要稍加使轉，以圓轉代替方折，如“思”、“里”、“風”字的轉角處即是。行書之所以比楷書書寫簡便，其中一個原因，就是以圓轉代替方折。裹鋒轉筆，轉折處玲瓏流利，有一種活潑、自然的流動感。蔡邕在《九勢》中所說的“轉筆宜左右回顧，無使節目孤露”就是指裹鋒轉筆。但要注意裹鋒轉筆處，必須圓轉中隱含折意，故書寫時仍需駐筆、提按，否則圓而無骨，缺乏方圓兼備之妙趣。
折鋒轉筆
所謂折鋒轉筆，即轉筆時如同寫楷書一樣，先提后折，頓筆后再調鋒而下，只是書寫速度略快些，轉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，骨肉兼備，即所謂“方中有回，圓中有方”。使人看了圓潤、渾厚、勁挺。欲如此，則折鋒轉筆處要有方折的意味，折時要重些，輕重提按要一筆小茍，不能一筆帶過。折鋒轉筆寫出來的折畫，不僅要方而見骨，而且要給人一種風骨挺立，神采飛揚的感覺。如“曲”“故”“總”字。
劃重點：行書中的折筆寫法，不外折鋒轉筆和裹鋒轉筆兩種用筆。折鋒轉筆外露，裹鋒轉筆內含，各有千秋，但一般說在行書中以裹鋒轉筆為主，折鋒轉筆為輔。
衄鋒勒筆
衄鋒勒筆，就是點畫中間稍用力頓挫一下，再中鋒勒筆而出。衄鋒勒筆大多數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，短小精悍，而形態也有變化。這種用筆米芾書法中常用。
劃重點：衄鋒勒筆在衄鋒時要有力，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，也就是在點畫相連處用筆提而不斷，鋒尖著紙帶出牽絲。凡是點畫間有牽絲相連者都是提筆連鋒用筆。這種用筆的好處是：“是點畫處皆重，非畫處，偶相牽引，其筆皆輕。”（姜夔《續書譜》）且主次分明叉遞相映帶，如“墨”、“照”、“然”的點畫牽引處。
在書寫過程中，提和按，連和斷，互為辯證的關系。提鋒連筆是牽絲的寫法，非牽絲處都是字的實畫。我們在學習過程中，一定要注意用筆要實，不能虛，用筆要按不能提。只有按得下，方能提得起，只有實是實，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系。例如點畫與點畫的組合、結體與結體的組合、字組的組合、行的組合、區域的組合，直至筆墨與空白的組合等。這些組合從小到大，隨著組合關系的不斷擴大，審美內涵也逐漸豐富。
行書的結構和章法的規則要求主要是：結體大小輕重要適當，長短縱橫要合度，疏密黑白要相稱，左右欹正相呼應，使之錯落變化，氣勢貫通，協調統一，神定氣足。
以米芾的《苕溪詩帖》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的關系，進行一個簡單的總結和歸類。
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，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，較小的筆畫較細的字分布原則也是一樣的。
行書與草書組合
首先是字型結構方面，草書的字型變化很大，大小不一，不是內行的話一般很難辨認。而行書大小就比較一致了，看起來很工整。其次是筆法方面，草書筆法相對復雜些，且運筆較疾。而行書相對緩和，其鋒刃體現在字形上，和草書有所區別。最后是章法。草書的章法是在起承轉合中一氣呵成，有一種大將風范。而行書則像一位隱士，不失工整，卻又不乏氣場。
粗細組合
線條，尤其是行書的線條，其輕、重、長、短、粗、細、濃、淡、枯、潤等等，變化無窮，儀態萬千，技法俱分高下，情態盡在其中。難怪有人說書法是“線條藝術”。
行書線條有其藝術法則的規范性。不是任何隨意抹畫出來的線條都可稱之為行書藝術的線條，他們必須符合行書法則規范性要求并經過長期技法訓練之后才能被書者所擁有。
這種規范性要求是客觀的，不依書者主觀意志為轉移。書者只有在掌握了規范性要求的前提下方能發展和張揚其個性。區分寫字與書法，必須首先看其是否具有“法度意識”即“規范意識”，是否符合規范性要求。
連體組合
連畫寫法在行書中，除了橫、豎、撇、挑、捺、點、折、勾外，還常常有多個筆畫連在一起寫的情況，簡稱連筆或連畫。連畫的式雖然紛繁復雜，但分解起來，無非是直線弧線、轉和折的組合。直線和爪線較易分辨，也較易書寫，只要及時運腕，做到中鋒行筆即可，比較不易分清的是轉和折。書寫復雜的連畫時，必須注意靈活運腕和轉折相間等原則。
橫縱組合
主要表現為點畫、部件或整體字形的長寬比例。楷書字形一般比例較為穩定，而行書則常隨時進行調整。
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輕些，但不可截然跳動，否則呆板無神。牽絲形成連的效果是行書的主要特征之一，但卻要運用得當。一味的牽連纏繞，當斷不斷，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，故當知斷”。因此將牽絲引帶與點畫呼應分開來講以區別它們的不同功用，這是行書的又一重要特征。
疏密組合
疏密體現在結字上，就是要加強對比，制造視覺反差。如勢巧形密與意疏字緩。
排列組合
從漢字的特點和人的生理習慣來看，因為是右手寫字，左手執冊個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，毛筆勢必擋住右半字形，不便于安排結構，影響結字的美觀。而每個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，更便于筆勢的連貫。
十大行書
第一行書
《蘭亭序》是王羲之47歲時的書作，記述的是王羲之和友人雅士會聚蘭亭的盛游之事。全篇從容嫻和，氣盛神凝，逸筆天成，匠心獨運而又不毫無安排造作的痕跡。這樣資質超群、功力深厚的作品，被評“為天下第一行書”，確實是當之無愧的。
第二行書
《祭侄文稿》，全名《祭侄贈贊善大夫季明文》。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)。現藏臺北故宮博物院。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，純是精神和平時功力的自然流露。這在整個書法史上都是不多見的。可以說，《祭侄文稿》是極具史料價值和藝術價值的墨跡原作之一，至為寶貴。
第三行書
《黃州寒食詩帖》，紙本，25行，共129字，是蘇軾行書的代表作。這是一首遣興的詩作，是蘇軾被貶黃州第三年的寒食節所發出的人生之嘆。詩寫得蒼涼多情，表達了蘇軾其時惆悵孤獨的心情。《黃州寒食詩帖》彰顯動勢，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
《伯遠帖》行書紙本，因首行有“伯遠”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，態致蕭散，妍媚流便，是典型的王氏書風。是帖明末在新安吳新宇處，后歸吳廷，曾刻入《馀清齋帖》，至清代時歸入內府，并與王羲之《快雪時晴帖》、王獻之《中秋帖》同列為三希堂法帖之一，現藏北京故宮博物院。
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，內容是敘述午睡醒來，腹中甚饑之時，恰逢有人饋贈韭花，韭花非常可口，遂執筆以表示謝意。
第六行書
《蒙詔帖》，墨跡紙本，又名《翰林帖》，高26.8厘米，長57.4厘米，大字行書，計7行，27字，書于長慶元年(公元821年)，當時柳公權四十四歲，年富力強，正是他書法創作的顛峰期，所以字如驚鴻擊空。
第七行書
《張翰思鱸帖》也稱《季鷹帖》，是歐陽詢為張翰寫的小傳，屬于行楷，無款。紙本，縱25.2厘米，橫33厘米。共10行，每行九至十一字。字體修長嚴謹，筆力剛勁挺撥，風格平正中見險峻之勢，是歐書中的精品。
第八行書
《蜀素帖》是米芾三十八歲時(1088年)，在蜀素上所書的各體詩八首。此帖用筆多變，正側藏露，長短粗細，體態萬千，充分體現了他“刷字”的獨特風格。結字也俯仰斜正，變化極大，并以欹側為主，表現了動態的美感。董其昌在《蜀素帖》后跋曰：“此卷如獅子搏象，以全力赴之，當為生平合作。”
第九行書
《松風閣詩帖》墨跡紙本，縱32.8厘米橫219.2厘米，全文計29行，153字。臺北故宮博物院藏。
黃庭堅的行書，如《松風閣》，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、王嚴實、王稱等跋。《珊瑚綱》《書畫匯考》《墨緣匯觀》《石渠寶笈續編》著錄。臺北故宮博物院藏。
%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，點畫略帶呼應，就是行書。行書寫起來比楷書快，又比草書容易識認，所以是應用最廣的書體。它既實用，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":283,"note":[{"type":"text","text":"行書分類","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f039888ee3cd40f0ab7ed641b170738d","width":596},"text":"","id":"doxcnaMU0SGC8oiUOewCe3sNsue"},{"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","id":""}],"text":"","id":"doxcns0IOUKCaUeqMc34iSKLlUq"},{"type":"paragraph","children":[{"type":"text","text":"正確的書寫姿勢不只是為了好看，還可以使書寫技能得到充分、有效地發揮，有助于書寫者的身心健康。書寫姿勢同時也反映出書寫者的修養，只有身正才會字正。正確的姿勢應是頭正、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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b6004cc6807846609885c2caf0c30439","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。","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，內側保持平行，兩腳平放地上，使全身平衡。正確的書寫姿勢，才能使字寫得端正，重心平衡。同時，正確的姿勢也會給人的身體帶來益處。","id":""}],"text":"","id":"doxcns6mMuygeoOAAbeNdCTR3sR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"執筆方法","id":""}],"text":"","id":"doxcnMwOuYqCOUmyOElewXFfoue"},{"type":"paragraph","children":[{"type":"text","text":"執筆方法不正確，不但妨礙書寫姿勢，影響書寫質量，還會給書寫者身心健康帶來危害，不可忽視。根據筆的自身特點，硬筆是三指執筆法，斜拿。","id":""}],"text":"","id":"doxcnKOyeGgCKysSuoR4AWMSTlf"},{"type":"paragraph","children":[{"type":"text","text":"正確的執筆方法：","id":""}],"text":"","id":"doxcn4Y2OUi0EcSesIUbc1vozpb"},{"type":"paragraph","children":[{"type":"text","text":"①用拇指、食指、中指三個指頭捏住筆桿（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所有指關節都向外彎；","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":497,"note":[{"type":"text","text":"執筆方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/d74dcc814fe64e67820e17dc2534afed","width":730},"text":"","id":"doxcnEemIyA8A6cG6UikjAP3Lkb"},{"type":"paragraph","children":[{"type":"text","text":"同時，還要做到：","id":""}],"text":"","id":"doxcnmkYyAe0YMcmwsNUG9hBGmc"},{"type":"paragraph","children":[{"type":"text","text":"①指實：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。小指的整個底部形成一個環形底座，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，緊靠在食指第三關節與虎口方向，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，宜于精離細琢。","id":""}],"text":"","id":"doxcnWGwGcMy8qowe4sTzMLSAvd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"練習方法","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，是開始練習行書的基礎條件。眾所周知，隨著技術的發展進步，簽字筆已經深入到社會生活的各個方面，我們在絕大部分時候都是使用簽字筆來寫字，使用鋼筆的時候比較少。但是想要練習好行書，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，筆畫變化稍大，更適合書法。","id":""}],"text":"","id":"doxcnEAOAGWos4YIA0nNNjF1oZ7"},{"type":"paragraph","children":[{"type":"text","text":"推薦鋼筆","id":""}],"text":"","id":"doxcnYwCceOkKmec2ADd4rKqTZb"},{"type":"paragraph","children":[{"type":"text","text":"適合練字的鋼筆，日筆應該比歐筆更適合一些。推薦白金3776，百樂78G，寫樂21K等。","id":""}],"text":"","id":"doxcn4IuGQ8eQO2oostFB9eXqxh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"選字帖臨摹","id":""}],"text":"","id":"doxcnycuY0ckCq0eciOKdFwPLIe"},{"type":"paragraph","children":[{"type":"text","text":"買一本包含常用字在內的行書字體進行模仿練習是練習行書的基本方法。我們常說先學會走路再學會跑，如果還沒有學會走路是不可能學會跑的。練習行書也是如此，首先是要學會名家的習作，學會他們的書寫方式，照著樣子先臨摹、描紅，然后再過渡到自己來練習書寫。在具體選擇的時候，一定要選用包括常用字在內的字帖，這樣更加有利于今后的具體實踐使用。","id":""}],"text":"","id":"doxcneCiuKQMIwUs8CWBJHmBafc"},{"type":"paragraph","children":[{"type":"text","text":"適合練習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。","id":""}],"text":"","id":"doxcn8QWMYKeaA8AWSEuXAihhyc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"堅持練習","id":""}],"text":"","id":"doxcnWiO0OWMcK88GWYnoQZnF3e"},{"type":"paragraph","children":[{"type":"text","text":"寫好行書并非一朝一夕之功，需要長時間的練習才能成功。對于初學者來說，如果有一定的書法基礎，可以很快上手練習行書。如果還沒有練習其他字體的書法基礎，最好是先練習正楷字、鋼筆字然后再過渡到行書的書寫，這是學習的一個循序漸進的過程。因此，練習行書沒有捷徑可以走，有的就是每天堅持練習，持之以恒地堅持下去。一般來說，有一年左右的時間就可以書寫出一手漂亮的行書。","id":""}],"text":"","id":"doxcn8aoyKwWaQec4WCK3D6nuRc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"連筆意識訓練","id":""}],"text":"","id":"doxcn8Gms0uSOc2S0Cu3LPF6tad"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通過筆畫練習","id":""}],"text":"","id":"doxcnGCoc6OEYwk6oI1CFDJi6Rh"},{"type":"paragraph","children":[{"type":"text","text":"要寫好硬筆行書，首先要了解行書的運筆特點，即行書是流動的楷書，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練，逐漸掌握行書運筆要領，為寫好行書奠定基礎。","id":""}],"text":"","id":"doxcnScECckGgIqYWcrQ83Iu5Db"},{"type":"paragraph","children":[{"type":"text","text":"1、點畫：行書點雖小，但很重要，起著筆畫的起止、過渡、裝飾、承上啟下、畫龍點睛的作用。點有獨立點、組合點兩種。","id":""}],"text":"","id":"doxcnouAoKEIIIkYA2rdaxDWlAf"},{"type":"paragraph","children":[{"type":"text","text":"獨立點，寫法如楷書筆畫中撇點，右下頓筆由輕到重轉向左下，方向視下一筆畫起筆位置而定。","id":""}],"text":"","id":"doxcnEUqk2WKKe6uGSIceKiXVpb"},{"type":"image","attrs":{"height":80,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/d06d681aca154b38974ff5a95938a21c","width":480},"text":"","id":"doxcnw2OQEIcW4wWy6xC8LxP6Nc"},{"type":"paragraph","children":[{"type":"text","text":"組合點，橫式排列、豎式排列，重點體現出點與點之間的呼應關系。","id":""}],"text":"","id":"doxcn6si2cc4mWEqKaAlZt0LXch"},{"type":"image","attrs":{"height":549,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/3ba7b03fc8f1442aa56265f44b895c75","width":707},"text":"","id":"doxcn6GwaSy2QGa4CG8E4nrNSce"},{"type":"paragraph","children":[{"type":"text","text":"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，短橫有時處理成點，數橫并存忌平行劃一，要姿態各異。","id":""}],"text":"","id":"doxcn604qGyKGyuSGYr3jMVZbeu"},{"type":"paragraph","children":[{"type":"text","text":"短橫：起筆輕，收筆重，末端收筆可向左下勾出，以呼應下一筆。","id":""}],"text":"","id":"doxcnUI2e8UGeQ0cq0Uio4iKv5z"},{"type":"image","attrs":{"height":123,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/5672275bacfd4670a6c59bfe7da45b0f","width":480},"text":"","id":"doxcniam0CGK4WAkccrA5SLvR2b"},{"type":"paragraph","children":[{"type":"text","text":"長橫：起筆向左下輕落筆，快而有力向右運筆，駐筆后左下方出鋒運筆中間輕、兩頭重。","id":""}],"text":"","id":"doxcnCAuuAGEKE8SyUNGuXQdDAg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/92651d020eec4b37a10b606d859bef5c","width":480},"text":"","id":"doxcn6sS6aMkq4yK8A4fEFbiWhb"},{"type":"paragraph","children":[{"type":"text","text":"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；右豎向左下出鋒引帶下畫。","id":""}],"text":"","id":"doxcnm68iwScaOMYigna9iEeC9g"},{"type":"paragraph","children":[{"type":"text","text":"懸針豎：垂直書寫，出鋒不可隨意甩出，以免輕浮。","id":""}],"text":"","id":"doxcn8wkQYuIYAguqSomBUypzJd"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0956d4b32bad4a5f9c46845f4c514393","width":480},"text":"","id":"doxcnK2wwyiIAImOMuMmhXnVWFh"},{"type":"paragraph","children":[{"type":"text","text":"垂露豎：收尾呈露珠狀，但不一定垂直，往往左側向左凸，右側向右凸。","id":""}],"text":"","id":"doxcnasEqqkQ6kWc0WgqZNleuic"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f3c208052317448ba9c30695c76ad30f","width":480},"text":"","id":"doxcnSOmY6GqC6AKA4YxA5iB17c"},{"type":"paragraph","children":[{"type":"text","text":"4、撇畫：撇在字中是支撐重心作用，具有較強的運動感，其特點飄逸勁健，靈動活潑。","id":""}],"text":"","id":"doxcnoEYeUIeIGuEMEd8HDRRLfd"},{"type":"paragraph","children":[{"type":"text","text":"小撇：乃字之精神，寫法與楷書同。要注意長短、粗細及筆的走向，出鋒銳利。","id":""}],"text":"","id":"doxcn4AUQsicgYYgCWmahZUC3nf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ed3861d80061471b959130f2e9f78234","width":480},"text":"","id":"doxcnqkWesoGi2YKaeoGforcowf"},{"type":"paragraph","children":[{"type":"text","text":"長撇：中間部分要粗些，但勿過分，筆法與楷書同。","id":""}],"text":"","id":"doxcnGYMyKM4eiOcAykrzHfjCWf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過筆畫練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/5e5da4f98cc34387a93d9a7d2d77c9be","width":480},"text":"","id":"doxcnGUYEWiO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:""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e79fef28c54e4b30b841c88c2cab565f","width":480},"text":"","id":"doxcn2s6Aae4oWSUIiqm98u96Ac"},{"type":"paragraph","children":[{"type":"text","text":"3、木部在左時橫短豎長且偏右，捺改點；在右時橫短豎長，撇捺伸展；在字上豎較短，撇捺張開；在字下橫畫長，豎帶鉤，撇捺改點。","id":""}],"text":"","id":"doxcncacUGAgeokiy8EVMkDPsTH"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/807725688748468882c044a8601fa924","width":480},"text":"","id":"doxcnQmMme0SoAEi80Yiuvytgwf"},{"type":"paragraph","children":[{"type":"text","text":"4、日部豎畫柔和自然，橫折與豎畫協調，中橫居中不要太滿，底橫不可超出右豎。作左偏旁時較窄；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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e9a0f36138d746ad8867a31c0df3abf3","width":480},"text":"","id":"doxcnWW0CkEcqCmeuaUh0HfRNog"},{"type":"paragraph","children":[{"type":"text","text":"5、月部豎撇較長，里面兩橫偏上不寫滿。月旁在左寫得瘦窄些；在右側寫得豐滿些。","id":""}],"text":"","id":"doxcnMEGyaOWI2MSSGAxxesNmAf"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b07cfd24030a40a7ae2bca51376b8057","width":480},"text":"","id":"doxcnQuesucyGOQGAQdNilSBHwh"},{"type":"paragraph","children":[{"type":"text","text":"6、方部點斜取勢，橫與點保持間距，彎鉤重心。方在左橫畫右邊不能長；在字下部點與橫相交。","id":""}],"text":"","id":"doxcnoO4sA8iwwisaWemxEIfBWd"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/72d3a27b83174f69afbdb4e4514b242b","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；在字下部要橫長撇短；品字結構要上正左小右大。","id":""}],"text":"","id":"doxcnWmcsQaq0kGaSQTcVxk0q7f"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/8d3ffaf166b34d3cb131d9742d3debfb","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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1125c43c5b65480cbf693b7fe62f41d1","width":480},"text":"","id":"doxcniCQsGI8QeaKIIr0GybZWzb"},{"type":"paragraph","children":[{"type":"text","text":"9、米部在字左側時橫短豎長，捺變點；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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/91daffbe86ce406bbda0d540a3ac5789","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；在右時，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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6d981ea98d7e4c8e869dad7bab06bf64","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、盼照應的規律。","id":""},{"type":"text","text":"\\n","id":""},{"type":"text","text":"三、相似偏旁部首的區別訓練","id":""},{"type":"text","text":"\\n","id":""},{"type":"text","text":"行書寫法簡省筆畫，再加之勾挑、牽絲相連，從而出現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":"對其分析，找出規律、異同，掌握正確的書寫方法。","id":""},{"type":"text","text":"\\n","id":""},{"type":"text","text":"1、言字旁和三點水二者主要區別在第二筆。言字旁橫折提的橫折處實、重；三點水第二筆為右點收筆與第三筆虛連、輕。","id":""}],"text":"","id":"doxcnQoEkQiWMaSsKYBpFrYuftg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/df9e7a9c451b4520ad06dfa918c5b894","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","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/88697d320ecc4859899eaf4628bbf206","width":480},"text":"","id":"doxcnUu8uiOyQSAaM6C7S2KnYIg"},{"type":"paragraph","children":[{"type":"text","text":"3、木字旁與反犬旁區別：","id":""}],"text":"","id":"doxcnQS6ea6EwoaAq2jPQlDjw1d"},{"type":"paragraph","children":[{"type":"text","text":"①第一筆筆畫和筆勢不同，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，筆勢直；反犬為彎鉤，筆勢弧形。","id":""}],"text":"","id":"doxcnaUMuiqSMUo6KwdgfLG5uad"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通過偏旁部練習","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/196647cda3174188b0a9a638e80e072e","width":480},"text":"","id":"doxcnOU4Cu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畫相連的訓練","id":""}],"text":"","id":"doxcnaWgUwOiOKcM8TdaFb5XZyu"},{"type":"image","attrs":{"height":48,"note":[{"type":"text","text":"通過具體字訓練","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/200adc34730f4188b739f0b656752598","width":480},"text":"","id":"doxcnMooiQWsykgES1vrhkhJmyw"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"毛筆行書","id":""}],"text":"","id":"doxcnuYMoi2gAEaSeOCkJGMGcce"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"基本技法","id":""}],"text":"","id":"doxcna2MoS22K0ogmalZGn2Gihb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"筆法","id":""}],"text":"","id":"doxcnYgK84iy2CgCKeGlc5N5VNd"},{"type":"paragraph","children":[{"type":"text","text":"筆法指執筆和用筆，寫行書的人一般都練習過楷書，所以執筆和用筆都有了基礎。但是，行書的筆法比楷書要豐富得多。要做到中鋒用筆，方圓兼備，中、側鋒并用，點畫之間以牽絲映帶、似連非連、筆斷勢連的形式貫通氣脈。","id":""}],"text":"","id":"doxcnwI8aMcCyCsAU5pjqYqW5hs"},{"type":"image","attrs":{"height":402,"note":[{"type":"text","text":"筆法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/cea21b59651245acad0a7220e0fdb6f8","width":236},"text":"","id":"doxcng24GKMoGk0cgAfuKKVi9Ig"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"點畫寫法","id":""}],"text":"","id":"doxcnoucemYKam0eoeGBIKYx6Oh"},{"type":"paragraph","children":[{"type":"text","text":"行書點畫要注意呼應，同時應在平整中取攲側之勢，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，運筆快慢要得疾澀相生之意。圓轉處要勁氣內斂，方折處要如削金斷玉，明快潔凈。","id":""}],"text":"","id":"doxcnkgyigAmwSEuUuk6Cj1CLBe"},{"type":"image","attrs":{"height":198,"note":[{"type":"text","text":"點畫寫法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/52d71509f7a24b698f02e29bd79c8533","width":581},"text":"","id":"doxcn62c8mOgOYg4WeA4XxcTIVb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"結構","id":""}],"text":"","id":"doxcn0K4QAOQ24M2ACOrq0VXNRe"},{"type":"paragraph","children":[{"type":"text","text":"行書結構千變萬化，","id":""},{"type":"text","text":"但基本原則是要重心平穩，","id":""},{"type":"text","text":"變化自然，顧盼呼應。行書多用奔放之筆取攲側之勢，但無論如何奔放也要重心平穩，特別是攲側中站穩重心，這種奇正相成的結構是行書的特點。行書多變化，變化要順乎自然。字行大小、疏密、長短、伸縮、開合、俯仰、向背等自然之行，初寫時要盡各字真態、本色，切忌故意造作，制奇弄險，走入流俗，能得自然之美方是真本領。至于點畫之間顧盼生情，相互呼應要如聞其聲，則字字都活潑而有生氣了。","id":""}],"text":"","id":"doxcnikakYC4SiKcsCyZlTWYnEf"},{"type":"image","attrs":{"height":481,"note":[{"type":"text","text":"結構","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1e266dfbc3424c26beff4cfe78a3d250","width":417},"text":"","id":"doxcnC4YmwA2UGCEcYhNaUSRvKe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"章法","id":""}],"text":"","id":"doxcnC2SUucw8CWu6kBrlqAsiHf"},{"type":"paragraph","children":[{"type":"text","text":"行書章法多用縱有行、橫無列，或縱無行，橫無列兩種。字與字之間要有內在聯系，行與行之間要有意態呼應。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、疏密對比、伸縮之宜都要合乎自然，章法要如音樂之旋律，如詩詞之有聲律。詩詞的“","id":""},{"type":"text","text":"平平仄仄平平仄”","id":""},{"type":"text","text":"抑揚頓挫，一如行書的疏密奇正伸縮，對比中求和諧，對立中求統一。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":"初學者在書寫行書時，不論是行草還是行楷，因對毛筆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點，較為容易上手，而且使用兼毫吸墨量適宜，不會導致初學者在書寫行書時停頓出現墨水團影響紙面。","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，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。挑選筆桿時要看筆管是否圓正光滑，不癟、不裂、不彎、不斜，長短適度。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，筆頭有無發霉、蟲蛀現象。先用手輕輕晃動筆頭，不能出現松動現象，再輕輕彈筆桿，看是否有掉毛，有毛掉睛，不是蟲蛀，便是發霉。檢查毛筆筆頭是否發霉，還可以聞聞有無霉味。","id":""}],"text":"","id":"doxcnmACksiOOkaUOmSfiLeDWZd"},{"type":"image","attrs":{"height":300,"note":[{"type":"text","text":"選筆","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2dddffc24516456f95b67e4f26cf8e62","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、點畫比較工整的、結體比較勻稱的字帖來臨摹。毛筆字帖，應挑選字體小一點的字帖，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、臨摹結合在習字時，要先摹后臨、臨摹結合。毛筆照著字帖上的字一點一畫地描紅。要求寫的筆跡不要越出字帖字外，都寫在字帖上字的點畫中間。這樣，久而久之，就容易學到字帖上字的結構。所謂臨，就是把字帖放在習字紙旁；照著帖上的字依樣畫葫蘆。要求點畫寫得象，有輕重節奏和粗細的變化。這樣，久而久之，就容易學到字帖上字的筆意。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字手段，因此要臨摹結合，循序漸進。","id":""}],"text":"","id":"doxcnC88eogKKM0YE8PDGFbRyje"},{"type":"paragraph","children":[{"type":"text","text":"(3）仔細讀貼。再者，臨摹前要仔細讀帖。對帖上的字，其點畫怎樣書寫，結構怎樣安排，章法怎樣布置，都要仔細琢磨并從中找出規律，這樣就容易寫得有興趣，也容易寫得象，寫得好。臨摹時，不能貪多貪快，每天堅持一、二小時，反復地臨摹幾個字，這樣才會有真正的收獲。對難寫的字，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":"{{image_domain}}tos-cn-i-qvj2lq49k0/f5a18f6e76104f1b881a178a2bd02b93","width":800},"text":"","id":"doxcne46Wg00GCU0iQhZWcyf8ue"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"堅持練習","id":""}],"text":"","id":"doxcnuaYGKW6s6IsKMZ6vxv5BNg"},{"type":"paragraph","children":[{"type":"text","text":"練習，持之以恒地堅持下去。一般來說，有一年左右的時間就可以書寫出一手漂亮的行書。","id":""}],"text":"","id":"doxcnSae6k0m0YiME0ijVWnv9dh"},{"type":"paragraph","children":[{"type":"text","text":"練習行書在開始的時候有一個適應的階段，熟能生巧，從一個字到一段字，從幾個字、一行字到一篇字，逐漸掌握行書的規律，慢慢也就形成了屬于你自己的行書風格。要善于從多方面吸取營養，名人題字，商家牌匾，學校老師甚至是同學之間，只要認真觀察，都可以找到別人寫的好字，學會了，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，是將點畫連起來書寫，即所謂“相間流行”，所以行書書寫時在點心之間自然地出現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畫上，行筆時順勢寫出來短鉤，如“茂”等字。所謂牽絲則是在前后或上下筆本不相連的點畫之間，順筆勢帶出來細細的牽絲，如“發”“想”等字。在行書的點畫之間有了鉤挑與牽絲，則顯得筆勢流動通暢和諧，意態自然，給人一種生機勃勃的感覺。","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":"以圓轉代方折","id":""}],"text":"","id":"doxcniqCwKOsae0wOagvh8GZHDh"},{"type":"paragraph","children":[{"type":"text","text":"行書轉折處多采用草書圓轉的寫法，所以行書才顯得筆勢流暢。但需注意，行書的圓轉中隱含著折意，寫時仍需要駐筆、提按，否則圓潤而無力，缺乏方圓兼備，方中有圓，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":"小學老師強調寫字注意筆順，這確實是很重要，特別是楷書。然而在行書中，有時有意識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，先內后外，但有時卻反其道而行之，倒也別有風趣，如“風”“國”字等，但也必須注意，改變書寫筆順一定要因勢利導，要合乎草書的規范。且不宜多，偶見則收，方能成趣，如果濫用成災，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、筆勢總是從左邊帶出撇挑，但從右邊挑筆而上，然后順筆就勢寫出撇挑，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、橫，還是撇、捺，都","id":""},{"type":"text","text":"強調","id":""},{"type":"text","text":"減鋒為主。而在行書中起筆處以露鋒人紙為多，因為露鋒人紙，書寫起來比較簡捷方便，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”字三點水的側點等，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“逆鋒”是要求凌空取勢，即搶鋒。不理解這一點，就會犯落筆尖細軟弱的毛病。","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，取勢要求要快，寫出字來，筆意就生動活潑．而藏鋒取勢較慢，筆意含蓄凝重。這兩種寫法各有所長，我們書寫時相互結合摻用，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是藏鋒用筆。","id":""}],"text":"","id":"doxcnKIU0WQsqimACgZ0Ooo19Bb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以點代替其他筆畫","id":""}],"text":"","id":"doxcnGqaGISWekSeeyqOdiMEZxf"},{"type":"paragraph","children":[{"type":"text","text":"為書寫簡便敏捷，行書常常以“點”來代替其他筆畫，以短小的“點”代替其他較長大的筆畫，可以使字的結構形態發生變化，造型更為別致。如將“京”，“影”字中的“小一字改寫為三點則更敏捷，字型發生了變化，顯得饒有趣味。又如“大”字，將捺筆寫成側點來表示，這樣書寫起來簡捷流暢，造型也顯得精悍樸實，別具風味。","id":""}],"text":"","id":"doxcn0guAaSMMWw2mW6V1Fkftvf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"體態多變","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，表現力豐富，常常一個字有幾種寫法，體態多變，姿態各異，如“是”字有四種寫法，四個姿態，結尾收筆各有不同，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":"中鋒行筆就是要使筆鋒保持在點畫中間行筆。中鋒行筆是用筆的關鍵，是書法的生命。要能達到中鋒行筆，就要在行筆時掌握好掌豎、腕平、筆桿直，同時還要隨著墨液緩緩下流而不斷調正筆鋒，“令筆心常在點畫中行”。篆、隸、楷書是這樣，行書亦如此，如“乎”、“本”字除落筆和收筆外，中間所有的點畫都是中鋒行筆，“華”字亦是。","id":""}],"text":"","id":"doxcnMCWIcEGcuygcUhofpEsxbg"},{"type":"paragraph","children":[{"type":"text","text":"劃重點：中鋒行筆，筆跡圓潤、道勁，妍美。","id":""}],"text":"","id":"doxcnQYkSEiW4EUscgj9N5R4AHg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"裹鋒轉筆","id":""}],"text":"","id":"doxcngMw6w8M2QwuY4jbqRnMirb"},{"type":"paragraph","children":[{"type":"text","text":"所謂裹鋒轉筆即是在轉折處，用筆使毫不能太鋪，要有所收斂，同時筆桿要稍加使轉，以圓轉代替方折，如“思”、“里”、“風”字的轉角處即是。行書之所以比楷書書寫簡便，其中一個原因，就是以圓轉代替方折。裹鋒轉筆，轉折處玲瓏流利，有一種活潑、自然的流動感。蔡邕在《九勢》中所說的“轉筆宜左右回顧，無使節目孤露”就是指裹鋒轉筆。但要注意裹鋒轉筆處，必須圓轉中隱含折意，故書寫時仍需駐筆、提按，否則圓而無骨，缺乏方圓兼備之妙趣。","id":""}],"text":"","id":"doxcnQu46uQc0ym0gkP5tazpsZb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"折鋒轉筆","id":""}],"text":"","id":"doxcngS4cYso6m2YOcbOPSqH22e"},{"type":"paragraph","children":[{"type":"text","text":"所謂折鋒轉筆，即轉筆時如同寫楷書一樣，先提后折，頓筆后再調鋒而下，只是書寫速度略快些，轉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，骨肉兼備，即所謂“方中有回，圓中有方”。使人看了圓潤、渾厚、勁挺。欲如此，則折鋒轉筆處要有方折的意味，折時要重些，輕重提按要一筆小茍，不能一筆帶過。折鋒轉筆寫出來的折畫，不僅要方而見骨，而且要給人一種風骨挺立，神采飛揚的感覺。如“曲”“故”“總”字。","id":""}],"text":"","id":"doxcn8wyoa6qcOS8Ql9BXBPfwbw"},{"type":"paragraph","children":[{"type":"text","text":"劃重點：行書中的折筆寫法，不外折鋒轉筆和裹鋒轉筆兩種用筆。折鋒轉筆外露，裹鋒轉筆內含，各有千秋，但一般說在行書中以裹鋒轉筆為主，折鋒轉筆為輔。","id":""}],"text":"","id":"doxcnSuc4QYgOSeSiw3GsR6rf5d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"衄鋒勒筆","id":""}],"text":"","id":"doxcnCCSkiC0sgsoAQHudlfnOnh"},{"type":"paragraph","children":[{"type":"text","text":"衄鋒勒筆，就是點畫中間稍用力頓挫一下，再中鋒勒筆而出。衄鋒勒筆大多數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，短小精悍，而形態也有變化。這種用筆米芾書法中常用。","id":""}],"text":"","id":"doxcnk6Q0UwySuKaWiAzqUyGUjc"},{"type":"paragraph","children":[{"type":"text","text":"劃重點：衄鋒勒筆在衄鋒時要有力，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":"paragraph","children":[{"type":"text","text":"提鋒連筆即提筆連鋒，也就是在點畫相連處用筆提而不斷，鋒尖著紙帶出牽絲。凡是點畫間有牽絲相連者都是提筆連鋒用筆。這種用筆的好處是：“是點畫處皆重，非畫處，偶相牽引，其筆皆輕。”（姜夔《續書譜》）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，互為辯證的關系。提鋒連筆是牽絲的寫法，非牽絲處都是字的實畫。我們在學習過程中，一定要注意用筆要實，不能虛，用筆要按不能提。只有按得下，方能提得起，只有實是實，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系。例如點畫與點畫的組合、結體與結體的組合、字組的組合、行的組合、區域的組合，直至筆墨與空白的組合等。這些組合從小到大，隨著組合關系的不斷擴大，審美內涵也逐漸豐富。","id":""}],"text":"","id":"doxcn4oaEoKI4UQYEIJH05D2rVU"},{"type":"paragraph","children":[{"type":"text","text":"行書的結構和章法的規則要求主要是：結體大小輕重要適當，長短縱橫要合度，疏密黑白要相稱，左右欹正相呼應，使之錯落變化，氣勢貫通，協調統一，神定氣足。","id":""}],"text":"","id":"doxcnsaiImSecgksk8cz3YH93ec"},{"type":"paragraph","children":[{"type":"text","text":"以米芾的《苕溪詩帖》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的關系，進行一個簡單的總結和歸類。","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":"{{image_domain}}tos-cn-i-qvj2lq49k0/a97b7149669c4c20a94e510738f86568","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，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":"{{image_domain}}tos-cn-i-qvj2lq49k0/e411b76989454107a3b76994802cf543","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":"{{image_domain}}tos-cn-i-qvj2lq49k0/0db54d19bac94124a5f1cdfa90dac756","width":314},"text":"","id":"doxcnCWWosyC0Ew0UKC7akSyYQd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"行書與草書組合","id":""}],"text":"","id":"doxcnqWs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