其实kknnn的问题并不复杂，但是又很多的朋友都不太了解周杰伦《稻香》乐谱。要26个字母的那种！谢谢，因此呢，今天小编就来为大家分享kknnn的一些知识，希望可以帮助到大家，下面我们一起来看看这个问题的分析吧！
本文目录
行书，又称“行押书”，也称“藁书”，是介于楷书和草书之间的一种书体。楷书稍加连贯，点画略带呼应，就是行书。行书写起来比楷书快，又比草书容易识认，所以是应用最广的书体。它既实用，又美观，写起来便捷。
行书分类
行书大致以其作品所具有的楷书和草书成分，划分为两类：作品中楷书成分较多的称之为行楷或楷行、真行：作品中草书成分较多的则称之为行草或草行。
硬笔行书
书写姿势
正确的书写姿势不只是为了好看，还可以使书写技能得到充分、有效地发挥，有助于书写者的身心健康。书写姿势同时也反映出书写者的修养，只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。（如下图）
1、头部端正：头要居中，稍向前下方俯视，眼睛与纸面一尺距离，不可俯得太低，也不可左偏、右斜。
2、身直肩平：臀部平坐于椅子中间大部，不能扭向一边，两肩平齐，上身不弯曲，使上身重心安稳。
3、臂开胸舒：两臂自然开张，两肘平放桌面，保持一线，腹背挺直，胸口与桌沿保持一拳距离，使呼吸顺畅。
4、腿开足安：两腿分开，与肩同宽，自然下垂，内侧保持平行，两脚平放地上，使全身平衡。正确的书写姿势，才能使字写得端正，重心平衡。同时，正确的姿势也会给人的身体带来益处。
执笔方法
执笔方法不正确，不但妨碍书写姿势，影响书写质量，还会给书写者身心健康带来危害，不可忽视。根据笔的自身特点，硬笔是三指执笔法，斜拿。
正确的执笔方法：
①用拇指、食指、中指三个指头捏住笔杆（三指处于同一平面）；
②指尖距笔尖约2.5cm~3cm（两指左右）；
③所有指关节都向外弯；
④笔杆位于食指的根部（如下图）。
同时，还要做到：
①指实：拇指、食指、中指来自三方的力量，处在与笔杆垂直的同一圆角上，将笔杆夹牢，松紧适度。
②掌虚：无名指和小指紧随中指下部依次靠拢，并向掌心弯曲、虛握。小指的整个底部形成一个环形底座，虚贴桌面。
③杆斜：笔杆向右后方倾斜，紧靠在食指第三关节与虎口方向，与桌面呈45°角。如果写较大的字，手指向前伸直，笔杆与纸面角度减小；书写较小的字手指向掌心收缩，笔杆与纸面角度大，宜于精離细琢。
练习方法
选笔
钢笔
具备一支书写流畅的钢笔，是开始练习行书的基础条件。众所周知，随着技术的发展进步，签字笔已经深入到社会生活的各个方面，我们在绝大部分时候都是使用签字笔来写字，使用钢笔的时候比较少。但是想要练习好行书，则必须要有一支书写流畅的钢笔。钢笔不同于签字笔，它可以更好地适应行书的书写顺序，保证书写出来的行书更加漂亮。明尖笔，弹性略大一点，笔画变化稍大，更适合书法。
推荐钢笔
适合练字的钢笔，日笔应该比欧笔更适合一些。推荐白金3776，百乐78G，写乐21K等。
选字帖临摹
买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑，如果还没有学会走路是不可能学会跑的。练习行书也是如此，首先是要学会名家的习作，学会他们的书写方式，照着样子先临摹、描红，然后再过渡到自己来练习书写。在具体选择的时候，一定要选用包括常用字在内的字帖，这样更加有利于今后的具体实践使用。
适合练习的字帖推荐以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。
坚持练习
写好行书并非一朝一夕之功，需要长时间的练习才能成功。对于初学者来说，如果有一定的书法基础，可以很快上手练习行书。如果还没有练习其他字体的书法基础，最好是先练习正楷字、钢笔字然后再过渡到行书的书写，这是学习的一个循序渐进的过程。因此，练习行书没有捷径可以走，有的就是每天坚持练习，持之以恒地坚持下去。一般来说，有一年左右的时间就可以书写出一手漂亮的行书。
连笔意识训练
通过笔画练习
要写好硬笔行书，首先要了解行书的运笔特点，即行书是流动的楷书，它的基本笔画就反映了这一特征。因此，我们通过基本笔画训练，逐渐掌握行书运笔要领，为写好行书奠定基础。
1、点画：行书点虽小，但很重要，起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。
独立点，写法如楷书笔画中撇点，右下顿笔由轻到重转向左下，方向视下一笔画起笔位置而定。
组合点，横式排列、竖式排列，重点体现出点与点之间的呼应关系。
2、横画：行书横画在字中起平衡作用，随意性大，起、收笔变化多端，短横有时处理成点，数横并存忌平行划一，要姿态各异。
短横：起笔轻，收笔重，末端收笔可向左下勾出，以呼应下一笔。
长横：起笔向左下轻落笔，快而有力向右运笔，驻笔后左下方出锋运笔中间轻、两头重。
3、竖画：竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应；右竖向左下出锋引带下画。
悬针竖：垂直书写，出锋不可随意甩出，以免轻浮。
垂露竖：收尾呈露珠状，但不一定垂直，往往左侧向左凸，右侧向右凸。
4、撇画：撇在字中是支撑重心作用，具有较强的运动感，其特点飘逸劲健，灵动活泼。
小撇：乃字之精神，写法与楷书同。要注意长短、粗细及笔的走向，出锋锐利。
长撇：中间部分要粗些，但勿过分，笔法与楷书同。
回带撇：起笔、中间部分与楷同，只是收笔处回锋出钩，以连带下面笔画。
5、捺画：在字中支撑字的重心，姿态飘逸，一波三折，给人以流动的美。
斜捺：由轻到重再轻收笔出锋，与左撇呼应，行书中亦可写成反捺或捺点：
平捺：写法同捺，关键把握好它的角度和长短。
6、钩画：钩画种类繁多（竖钩、横钩、卧钩、斜钩、弯钩、竖弯钩、横折钩、横折弯钩等），要做到稳重而有气势，体现出内在力量。
橫钩：逆势起笔与上笔遥相呼应，转角处不必像楷书那样严格，但要有力；
竖钩：竖垂直钩处多变，可向左上勾出，亦可作左下方出锋。
7、折画：折画一般在字的外围，对字包围之势，书写要有力度，笔势内聚，使字不散。
竖折：由上至左下快速落笔，蓄势向右上方徐徐运笔，中间微上凸；
横折：起笔重落，徐向右运笔，拐弯处快速向下弯去，至收笔处稍驻。
8、提画：提画尖锐挺拔，劲健有力，能增加字的力度和速度，美观。可分为短提、长提、撇提。
提：行书提起笔由上而左下迅速落笔，稍驻回笔向右上方迅速挑出，出锋尖利。
通过偏旁部练习
偏旁部首是笔画的初步组合，虽然行书没有一定书写规则，但笔画走向却有相对固定写法。因此，我们依照人们的书写习惯，约定俗成的写法来领会，并举一反三。
一、偏旁部首的练习
二、偏旁部首在字中不同位置的变化写法训练
偏旁部首出现于字的上、下、左、右、里、外不同位置时，写法也不尽相同，使得汉字书写千变万化。我们了解了这些变化要领，就可以触类旁通，掌握书写规则，熟习它们的变化规律，举一反三，就可收到事半功倍的效果。
1、土部在左时竖画偏右，下横改提以让右；在字右部时，两横间距拉开：在字上、下时，两横间距紧凑，避免结构松散。
2、火部在字左侧斜撇改为竖撇，捺变点收缩；居字上部笔画收缩，改捺为点；如在字右部或下部撇捺向两边伸展。
3、木部在左时横短竖长且偏右，捺改点；在右时横短竖长，撇捺伸展；在字上竖较短，撇捺张开；在字下横画长，竖带钩，撇捺改点。
4、日部竖画柔和自然，横折与竖画协调，中横居中不要太满，底横不可超出右竖。作左偏旁时较窄；在字右部地位适中。
5、月部竖撇较长，里面两横偏上不写满。月旁在左写得瘦窄些；在右侧写得丰满些。
6、方部点斜取势，横与点保持间距，弯钩重心。方在左横画右边不能长；在字下部点与横相交。
7、石部在左位置偏上，字形略小，以让右；在字下部要横长撇短；品字结构要上正左小右大。
8、耳部笔顺先横后竖再三横，在字左悬针改垂露，下横变提在右侧稍丰满些；居字上部悬针短。
9、米部在字左侧时横短竖长，捺变点；在字右边撇捺伸展；居字上部竖画的下部短；在字下部，竖画的上部短。
10、禾部用作左旁，撇橫间距拉开，竖偏右，捺改点；在右时，左撒收缩以让左；禾部在字上写法有两种：①下部伸展，禾部收缩；②下部收缩，则禾部散捺伸展。
总之，笔画之间要遵循上、下、左、右伸缩，高、低、顾、盼照应的规律。 三、相似偏旁部首的区别训练 行书写法简省笔画，再加之勾挑、牵丝相连，从而出现一些相似部首容易混淆。
因此，我们有必要对其分析，找出规律、异同，掌握正确的书写方法。 1、言字旁和三点水二者主要区别在第二笔。言字旁横折提的横折处实、重；三点水第二笔为右点收笔与第三笔虚连、轻。
2、提手旁和牛字旁都是一笔完成。区别是提手旁第一笔为横，牛字旁是撇折，因此，提手旁第一笔逆势过大很容易写成牛字旁。
3、木字旁与反犬旁区别：
①第一笔笔画和笔势不同，木旁为短横，由左至右上挑，反犬旁为撇，由右上至左下再上覆连弯钩。②第二笔木旁为竖，笔势直；反犬为弯钩，笔势弧形。
4、奉字头与卷字头区别在首笔，奉字头是横，卷字头为合两点，如将合两点写得过近，连丝过粗，近似短横，则二者就相像了。
5、四字头和血字底笔画、笔势相同，区别在最后一横。四字头横画缩在左竖与右折钩内，而血字横将二者托起。
6、立字旁和足字旁下部完全一样，不同点在上部：立旁是右点加斜横，足字旁是口为首，只要笔画与牵丝交待清晰，二者不难分辨。
7、示字旁与禾字旁区别在于起笔不同：示旁右点带钩呼出横画，禾旁为小撇，呼出横画；横竖画转接处不同，示旁在下部，禾旁在上部。
8、贝字旁与欠字旁运笔方法基本相同。要区分二者，第一、欠旁起笔为撇而且较长，撇出后回笔短；贝旁起笔竖且短，回锋长。第二、欠旁是撇折钩，弯头小；贝旁是竖弯折，弯头大。
9、左耳旁和右耳旁笔画、笔势完全相同，区分在于左耳旁不封口，竖为垂露且短些；右耳旁封口，竖为悬针且稍长。
10、绞丝旁与双人旁二者最大区别是双人旁第二笔为撇，之后笔不离纸由撇原路返至中间作竖向右上回锋，意连下一笔；绞丝旁折笔处是两弧形，无撇画、竖画，收笔回锋斜上作提。
通过具体字训练
笔画与偏旁是结字的基础，最终要结合成端庄、美观、令人赏心悦目的汉字。我们从思想上要有笔画之间是流动的，不是僵死的；笔画之间是呼应的，而不是孤立的这种连带或笔断意连意识。
1、连横训练
2、连竖训练
3、竖连横训练
4、连横连竖训练
5、横竖横相连训练
6、其它笔画相连的训练
毛笔行书
基本技法
笔法
笔法指执笔和用笔，写行书的人一般都练习过楷书，所以执笔和用笔都有了基础。但是，行书的笔法比楷书要丰富得多。要做到中锋用笔，方圆兼备，中、侧锋并用，点画之间以牵丝映带、似连非连、笔断势连的形式贯通气脉。
点画写法
行书点画要注意呼应，同时应在平整中取攲侧之势，在匀称之中得疏密之形，使之变化多姿，特别要注意的是，牵丝往来要有笔断意连之妙，运笔快慢要得疾涩相生之意。圆转处要劲气內敛，方折处要如削金断玉，明快洁净。
结构
行书结构千变万化，但基本原则是要重心平稳，变化自然，顾盼呼应。行书多用奔放之笔取攲侧之势，但无论如何奔放也要重心平稳，特别是攲侧中站稳重心，这种奇正相成的结构是行书的特点。行书多变化，变化要顺乎自然。字行大小、疏密、长短、伸缩、开合、俯仰、向背等自然之行，初写时要尽各字真态、本色，切忌故意造作，制奇弄险，走入流俗，能得自然之美方是真本领。至于点画之间顾盼生情，相互呼应要如闻其声，则字字都活泼而有生气了。
章法
行书章法多用纵有行、横无列，或纵无行，横无列两种。字与字之间要有內在联系，行与行之间要有意态呼应。不必故意笔笔相连，贵在气息贯注，笔断意连。通篇字的大小变化、疏密对比、伸缩之宜都要合乎自然，章法要如音乐之旋律，如诗词之有声律。诗词的“平平仄仄平平仄”抑扬顿挫，一如行书的疏密奇正伸缩，对比中求和谐，对立中求统一。虽是“疏可跑马，密不容针”，仍要密不迫塞，疏不散漫，总之要浑然一体，一气呵成，无意之佳为最妙。
练习方法
选笔
初学者在书写行书时，不论是行草还是行楷，因对毛笔的使用以及落笔的轻重缓急尚未把握，可以选择兼毫来使用，兼毫兼具了硬毫和软毫的优点，较为容易上手，而且使用兼毫吸墨量适宜，不会导致初学者在书写行书时停顿出现墨水团影响纸面。
挑选毛笔是挑毛尖。笔头要尖、齐、圆、键，即：笔头的锋颖既尖锐似锥又要圆润，笔头既要修削整齐，笔尖又要丰满，富有弹性。一般笔杆多用凤尾竹、湘妃竹、花竹、紫竹制成。挑选笔杆时要看笔管是否圆正光滑，不瘪、不裂、不弯、不斜，长短适度。笔杆上有篆刻的，要看它是否镌秀清晰；有镶嵌的，要看是否曲雅古朴。最后，要看笔头与笔杆是否粘牢，笔头有无发霉、虫蛀现象。先用手轻轻晃动笔头，不能出现松动现象，再轻轻弹笔杆，看是否有掉毛，有毛掉睛，不是虫蛀，便是发霉。检查毛笔笔头是否发霉，还可以闻闻有无霉味。
选字帖临摹
(1）挑选字帖。挑选一本孩子比较喜爱的、点画比较工整的、结体比较匀称的字帖来临摹。毛笔字帖，应挑选字体小一点的字帖，这样可省去缩小的工夫。
(2）先摹后临、临摹结合在习字时，要先摹后临、临摹结合。毛笔照着字帖上的字一点一画地描红。要求写的笔迹不要越出字帖字外，都写在字帖上字的点画中间。这样，久而久之，就容易学到字帖上字的结构。所谓临，就是把字帖放在习字纸旁；照着帖上的字依样画葫芦。要求点画写得象，有轻重节奏和粗细的变化。这样，久而久之，就容易学到字帖上字的笔意。由于临书比摹书难，因此要先摹后临，由于临和摹是两种相辅相成的学字手段，因此要临摹结合，循序渐进。
(3）仔细读贴。再者，临摹前要仔细读帖。对帖上的字，其点画怎样书写，结构怎样安排，章法怎样布置，都要仔细琢磨并从中找出规律，这样就容易写得有兴趣，也容易写得象，写得好。临摹时，不能贪多贪快，每天坚持一、二小时，反复地临摹几个字，这样才会有真正的收获。对难写的字，更要知难而上，多临摹，多比较。
坚持练习
练习，持之以恒地坚持下去。一般来说，有一年左右的时间就可以书写出一手漂亮的行书。
练习行书在开始的时候有一个适应的阶段，熟能生巧，从一个字到一段字，从几个字、一行字到一篇字，逐渐掌握行书的规律，慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养，名人题字，商家牌匾，学校老师甚至是同学之间，只要认真观察，都可以找到别人写的好字，学会了，就成了自己的字。
行书技巧
增加钩挑与牵丝
楷书书写要一笔一画、工工整整，行书则不然，是将点画连起来书写，即所谓“相间流行”，所以行书书写时在点心之间自然地出现或增加了由于用笔带出来的钩挑和牵丝。所谓钩挑是在原来没有钩挑的点画上，行笔时顺势写出来短钩，如“茂”等字。所谓牵丝则是在前后或上下笔本不相连的点画之间，顺笔势带出来细细的牵丝，如“发”“想”等字。在行书的点画之间有了钩挑与牵丝，则显得笔势流动通畅和谐，意态自然，给人一种生机勃勃的感觉。
注意：
钩挑与牵丝不能使用太多太弱，用多了，到处都是钩挑与细牵丝，显得用笔不干净利索，造型不美观；太弱了，钩脚如肉瘤，细丝如棉线，显得软弱无力，缺乏铁画银钩之健美。
以圆转代方折
行书转折处多采用草书圆转的写法，所以行书才显得笔势流畅。但需注意，行书的圆转中隐含着折意，写时仍需要驻笔、提按，否则圆润而无力，缺乏方圆兼备，方中有圆，圆中有方之妙趣，如“后”、“落”、“生”等字。
改变书写笔顺
小学老师强调写字注意笔顺，这确实是很重要，特别是楷书。然而在行书中，有时有意识地改变楷书的书写笔顺，而采用草书的笔顺，其目的是便于书写，同时也是为了造型的变化多姿，如“感”字。
注意：
一般地说行书写法也足先上后下先左后右，先内后外，但有时却反其道而行之，倒也别有风趣，如“风”“国”字等，但也必须注意，改变书写笔顺一定要因势利导，要合乎草书的规范。且不宜多，偶见则收，方能成趣，如果滥用成灾，使人乏味，就失败了。
用笔灵活
行书比楷书用笔灵活多变，同样的点画可以这样写，可以那样写，不受约束。如“也”字的浮鹅钩，一般是回锋收笔而出。但如果勾端由上翻笔而下也可以。又如木字旁，一般是写好横画和竖画后、笔势总是从左边带出撇挑，但从右边挑笔而上，然后顺笔就势写出撇挑，也有道理。如“杨”字。
起笔露锋入纸
楷书无论是点、横，还是撇、捺，都强调减锋为主。而在行书中起笔处以露锋人纸为多，因为露锋人纸，书写起来比较简捷方便，自然流畅，例如“生”字的左竖，“红”字的撇画及“工”字横画的起笔，“河”字三点水的侧点等，都是露锋人纸。然而必须说明的是，上面所说的字虽然都是露锋人纸，但不是随便的顺锋搭下一写，而是仍要“逆锋”，只是这个“逆锋”是要求凌空取势，即抢锋。不理解这一点，就会犯落笔尖细软弱的毛病。
注意：
露锋入纸，取势要求要快，写出字来，笔意就生动活泼．而藏锋取势较慢，笔意含蓄凝重。这两种写法各有所长，我们书写时相互结合掺用，这样可以各得其所，相得益彰。一般说，行书开头的起笔往往是露锋入纸，而以下的承笔处则多数是藏锋用笔。
以点代替其他笔画
为书写简便敏捷，行书常常以“点”来代替其他笔画，以短小的“点”代替其他较长大的笔画，可以使字的结构形态发生变化，造型更为别致。如将“京”，“影”字中的“小一字改写为三点则更敏捷，字型发生了变化，显得饶有趣味。又如“大”字，将捺笔写成侧点来表示，这样书写起来简捷流畅，造型也显得精悍朴实，别具风味。
体态多变
行书是介于楷书与草书之间的一种兼工带写的字体，它的使用范围很广，表现力丰富，常常一个字有几种写法，体态多变，姿态各异，如“是”字有四种写法，四个姿态，结尾收笔各有不同，有收有放，亦工亦草，情趣盎然。再如“英、落、草、奠、花”同是草字头，但写法各不相同，生动活泼，耐人寻味。如果同样的字或是字头字尾相同的字，写得千篇一律，没有变化，使人看了乏味，那就不称其为书法了。
运笔的技巧
中锋行笔
中锋行笔就是要使笔锋保持在点画中间行笔。中锋行笔是用笔的关键，是书法的生命。要能达到中锋行笔，就要在行笔时掌握好掌竖、腕平、笔杆直，同时还要随着墨液缓缓下流而不断调正笔锋，“令笔心常在点画中行”。篆、隶、楷书是这样，行书亦如此，如“乎”、“本”字除落笔和收笔外，中间所有的点画都是中锋行笔，“华”字亦是。
划重点：中锋行笔，笔迹圆润、道劲，妍美。
裹锋转笔
所谓裹锋转笔即是在转折处，用笔使毫不能太铺，要有所收敛，同时笔杆要稍加使转，以圆转代替方折，如“思”、“里”、“风”字的转角处即是。行书之所以比楷书书写简便，其中一个原因，就是以圆转代替方折。裹锋转笔，转折处玲珑流利，有一种活泼、自然的流动感。蔡邕在《九势》中所说的“转笔宜左右回顾，无使节目孤露”就是指裹锋转笔。但要注意裹锋转笔处，必须圆转中隐含折意，故书写时仍需驻笔、提按，否则圆而无骨，缺乏方圆兼备之妙趣。
折锋转笔
所谓折锋转笔，即转笔时如同写楷书一样，先提后折，顿笔后再调锋而下，只是书写速度略快些，转折处投有楷书那么方折，而是既看出是方折之意，又有圆浑之感，有骨有肉，骨肉兼备，即所谓“方中有回，圆中有方”。使人看了圆润、浑厚、劲挺。欲如此，则折锋转笔处要有方折的意味，折时要重些，轻重提按要一笔小苟，不能一笔带过。折锋转笔写出来的折画，不仅要方而见骨，而且要给人一种风骨挺立，神采飞扬的感觉。如“曲”“故”“总”字。
划重点：行书中的折笔写法，不外折锋转笔和裹锋转笔两种用笔。折锋转笔外露，裹锋转笔内含，各有千秋，但一般说在行书中以裹锋转笔为主，折锋转笔为辅。
衄锋勒笔
衄锋勒笔，就是点画中间稍用力顿挫一下，再中锋勒笔而出。衄锋勒笔大多数是用在反撩与撇的交接处，如“又”、“文”、“交”字的反捺中间用笔。衄锋勒笔，用笔收敛蓄势，短小精悍，而形态也有变化。这种用笔米芾书法中常用。
划重点：衄锋勒笔在衄锋时要有力，勒笔处要迅速，捺画末笔要收得住。
提锋连笔
提锋连笔即提笔连锋，也就是在点画相连处用笔提而不断，锋尖着纸带出牵丝。凡是点画间有牵丝相连者都是提笔连锋用笔。这种用笔的好处是：“是点画处皆重，非画处，偶相牵引，其笔皆轻。”（姜夔《续书谱》）且主次分明叉递相映带，如“墨”、“照”、“然”的点画牵引处。
在书写过程中，提和按，连和断，互为辩证的关系。提锋连笔是牵丝的写法，非牵丝处都是字的实画。我们在学习过程中，一定要注意用笔要实，不能虚，用笔要按不能提。只有按得下，方能提得起，只有实是实，方能虚是虚。
字组黄金法则
书法的形式是各种造型的组合关系。例如点画与点画的组合、结体与结体的组合、字组的组合、行的组合、区域的组合，直至笔墨与空白的组合等。这些组合从小到大，随着组合关系的不断扩大，审美内涵也逐渐丰富。
行书的结构和章法的规则要求主要是：结体大小轻重要适当，长短纵横要合度，疏密黑白要相称，左右欹正相呼应，使之错落变化，气势贯通，协调统一，神定气足。
以米芾的《苕溪诗帖》为例子，来窥探米颠他这部旷世作品里常见字与字之间的呼应的关系，进行一个简单的总结和归类。
欹正组合
欹正是指部分偏旁、部首或局部作倾斜、欹侧处理，又能倾而不倒，平中寓奇，增加字的变化和意外的奇趣。欹正得体就是说，歪的与正的阴阳配合到完美，指字写的很完美。
浓淡组合
书法是通过墨来表现的，墨法是书法的四大要素之一被书家重视。墨色的变化，一般有“浓、淡、干、湿、涨”。作品中的墨色的深浅枯润，可以造成雄奇或秀媚的书法意境。
大小组合
在行书作品中，字的大小是宾主关系，主次分明。把较大的笔画较粗的主字分布原则掌握了，较小的笔画较细的字分布原则也是一样的。
行书与草书组合
首先是字型结构方面，草书的字型变化很大，大小不一，不是内行的话一般很难辨认。而行书大小就比较一致了，看起来很工整。其次是笔法方面，草书笔法相对复杂些，且运笔较疾。而行书相对缓和，其锋刃体现在字形上，和草书有所区别。最后是章法。草书的章法是在起承转合中一气呵成，有一种大将风范。而行书则像一位隐士，不失工整，却又不乏气场。
粗细组合
线条，尤其是行书的线条，其轻、重、长、短、粗、细、浓、淡、枯、润等等，变化无穷，仪态万千，技法俱分高下，情态尽在其中。难怪有人说书法是“线条艺术”。
行书线条有其艺术法则的规范性。不是任何随意抹画出来的线条都可称之为行书艺术的线条，他们必须符合行书法则规范性要求并经过长期技法训练之后才能被书者所拥有。
这种规范性要求是客观的，不依书者主观意志为转移。书者只有在掌握了规范性要求的前提下方能发展和张扬其个性。区分写字与书法，必须首先看其是否具有“法度意识”即“规范意识”，是否符合规范性要求。
连体组合
连画写法在行书中，除了横、竖、撇、挑、捺、点、折、勾外，还常常有多个笔画连在一起写的情况，简称连笔或连画。连画的式虽然纷繁复杂，但分解起来，无非是直线弧线、转和折的组合。直线和爪线较易分辨，也较易书写，只要及时运腕，做到中锋行笔即可，比较不易分清的是转和折。书写复杂的连画时，必须注意灵活运腕和转折相间等原则。
横纵组合
主要表现为点画、部件或整体字形的长宽比例。楷书字形一般比例较为稳定，而行书则常随时进行调整。
省略组合
一般情况是凡字的固有笔画则重些，而两画之间的连接相应轻些，但不可截然跳动，否则呆板无神。牵丝形成连的效果是行书的主要特征之一，但却要运用得当。一味的牵连缠绕，当断不断，反而弄巧成拙，形成浮滑薄弱之病，是行书书写中的大忌。一位书法家讲过“连与断效果不同，连易断难，故当知断”。因此将牵丝引带与点画呼应分开来讲以区别它们的不同功用，这是行书的又一重要特征。
疏密组合
疏密体现在结字上，就是要加强对比，制造视觉反差。如势巧形密与意疏字缓。
排列组合
从汉字的特点和人的生理习惯来看，因为是右手写字，左手执册个字的笔顺自然是从上至下，自左而右的方便。如果从右往左写，写左半部时，毛笔势必挡住右半字形，不便于安排结构，影响结字的美观。而每个汉字的未笔都是在中下或右下，写完上一字的末笔紧接着写下一字的起笔，竖式书写比横式书写更方便，更便于笔势的连贯。
十大行书
第一行书
《兰亭序》是王羲之47岁时的书作，记述的是王羲之和友人雅士会聚兰亭的盛游之事。全篇从容娴和，气盛神凝，逸笔天成，匠心独运而又不毫无安排造作的痕迹。这样资质超群、功力深厚的作品，被评“为天下第一行书”，确实是当之无愧的。
第二行书
《祭侄文稿》，全名《祭侄赠赞善大夫季明文》。原作纸本，纵28.8厘米。横75.5厘米，共234字(另有涂抹字30余个)。现藏台北故宫博物院。颜真卿这篇《祭侄文草稿》是在极度悲愤的情绪下书写，顾不得笔墨的工拙，故字随书家情绪起伏，纯是精神和平时功力的自然流露。这在整个书法史上都是不多见的。可以说，《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一，至为宝贵。
第三行书
《黄州寒食诗帖》，纸本，25行，共129字，是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发出的人生之叹。诗写得苍凉多情，表达了苏轼其时惆怅孤独的心情。《黄州寒食诗帖》彰显动势，洋溢着起伏的情绪。元朝鲜于枢把它称为继王羲之《兰亭序》、颜真卿《祭侄稿》之后的"天下第三行书"。
第四行书
《伯远帖》行书纸本，因首行有“伯远”二字，遂以帖名。此帖为晋代真迹，王珣书，故列希珍之宝。此帖行书，笔力遒劲，态致萧散，妍媚流便，是典型的王氏书风。是帖明末在新安吴新宇处，后归吴廷，曾刻入《馀清斋帖》，至清代时归入内府，并与王羲之《快雪时晴帖》、王献之《中秋帖》同列为三希堂法帖之一，现藏北京故宫博物院。
第五行书
《韭花帖》，杨凝式书，墨迹麻纸本，高26厘米，宽28厘米，共7行，63字。《韭花帖》是一封信札，内容是叙述午睡醒来，腹中甚饥之时，恰逢有人馈赠韭花，韭花非常可口，遂执笔以表示谢意。
第六行书
《蒙诏帖》，墨迹纸本，又名《翰林帖》，高26.8厘米，长57.4厘米，大字行书，计7行，27字，书于长庆元年(公元821年)，当时柳公权四十四岁，年富力强，正是他书法创作的颠峰期，所以字如惊鸿击空。
第七行书
《张翰思鲈帖》也称《季鹰帖》，是欧阳询为张翰写的小传，属于行楷，无款。纸本，纵25.2厘米，横33厘米。共10行，每行九至十一字。字体修长严谨，笔力刚劲挺拨，风格平正中见险峻之势，是欧书中的精品。
第八行书
《蜀素帖》是米芾三十八岁时(1088年)，在蜀素上所书的各体诗八首。此帖用笔多变，正侧藏露，长短粗细，体态万千，充分体现了他“刷字”的独特风格。结字也俯仰斜正，变化极大，并以欹侧为主，表现了动态的美感。董其昌在《蜀素帖》后跋曰：“此卷如狮子搏象，以全力赴之，当为生平合作。”
第九行书
《松风阁诗帖》墨迹纸本，纵32.8厘米横219.2厘米，全文计29行，153字。台北故宫博物院藏。
黄庭坚的行书，如《松风阁》，起笔处欲右先左，由画中藏锋逆入至左顿笔，然后平出，“无平不陂”，下笔着意变化；收笔处回锋藏颖。善藏锋，注意顿挫，以“画竹法作书”给人以“沉着痛快”的感觉。
第十行书
《土母帖》，行书墨迹，纸本。纵31.2厘米，横44.4厘米，10行，共104字。后有萧引高、王严实、王称等跋。《珊瑚纲》《书画汇考》《墨缘汇观》《石渠宝笈续编》著录。台北故宫博物院藏。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"行书，又称“行押书”，也称“藁书”，是介于楷书和草书之间的一种书体。楷书稍加连贯，点画略带呼应，就是行书。行书写起来比楷书快，又比草书容易识认，所以是应用最广的书体。它既实用，又美观，写起来便捷。","id":""}],"text":"","id":"doxcn4aE402auGgSmmtW0KQep9N"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"行书分类","id":""}],"text":"","id":"doxcncUyaQmms04Sa2zFsbUI2ud"},{"type":"paragraph","children":[{"type":"text","text":"行书大致以其作品所具有的楷书和草书成分，划分为两类：作品中楷书成分较多的称之为行楷或楷行、真行：作品中草书成分较多的则称之为行草或草行。","id":""}],"text":"","id":"doxcneY8iG0IKOSicElqlROpOTf"},,"attrs":{"height":240,"note":[{"type":"text","text":"行书分类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1e6d4cfb4c724fe2a50bc9fe27bff8dc","width":480},"text":"","id":"doxcnMiMuEeu6KU4Y6CxkhgVSwg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"硬笔行书","id":""}],"text":"","id":"doxcnKCIIoaIocYeGw32CPfbbHg"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"书写姿势","id":""}],"text":"","id":"doxcns0IOUKCaUeqMc34iSKLlUq"},{"type":"paragraph","children":[{"type":"text","text":"正确的书写姿势不只是为了好看，还可以使书写技能得到充分、有效地发挥，有助于书写者的身心健康。书写姿势同时也反映出书写者的修养，只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。（如下图）","id":""}],"text":"","id":"doxcn8wqMMEEiWK8OiSzYNHJStb"},,"attrs":{"height":226,"note":[{"type":"text","text":"书写姿势","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a40508b1d7ef468ab40fdfcd01534c40","width":490},"text":"","id":"doxcnSUKKakM2KekcminomBeyLe"},{"type":"paragraph","children":[{"type":"text","text":"1、头部端正：头要居中，稍向前下方俯视，眼睛与纸面一尺距离，不可俯得太低，也不可左偏、右斜。","id":""}],"text":"","id":"doxcnY8s24cQaSg82y03cujOMIS"},{"type":"paragraph","children":[{"type":"text","text":"2、身直肩平：臀部平坐于椅子中间大部，不能扭向一边，两肩平齐，上身不弯曲，使上身重心安稳。","id":""}],"text":"","id":"doxcngQwUUyUQUkM4uefGQBv2gf"},{"type":"paragraph","children":[{"type":"text","text":"3、臂开胸舒：两臂自然开张，两肘平放桌面，保持一线，腹背挺直，胸口与桌沿保持一拳距离，使呼吸顺畅。","id":""}],"text":"","id":"doxcnSoYiKiMyo0oYG4KjKiM9Ed"},{"type":"paragraph","children":[{"type":"text","text":"4、腿开足安：两腿分开，与肩同宽，自然下垂，内侧保持平行，两脚平放地上，使全身平衡。正确的书写姿势，才能使字写得端正，重心平衡。同时，正确的姿势也会给人的身体带来益处。","id":""}],"text":"","id":"doxcns6mMuygeoOAAbeNdCTR3sR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"执笔方法","id":""}],"text":"","id":"doxcnMwOuYqCOUmyOElewXFfoue"},{"type":"paragraph","children":[{"type":"text","text":"执笔方法不正确，不但妨碍书写姿势，影响书写质量，还会给书写者身心健康带来危害，不可忽视。根据笔的自身特点，硬笔是三指执笔法，斜拿。","id":""}],"text":"","id":"doxcnKOyeGgCKysSuoR4AWMSTlf"},{"type":"paragraph","children":[{"type":"text","text":"正确的执笔方法：","id":""}],"text":"","id":"doxcn4Y2OUi0EcSesIUbc1vozpb"},{"type":"paragraph","children":[{"type":"text","text":"①用拇指、食指、中指三个指头捏住笔杆（三指处于同一平面）；","id":""}],"text":"","id":"doxcngiwu0UCAOYacIu6KGL2H3r"},{"type":"paragraph","children":[{"type":"text","text":"②指尖距笔尖约2.5cm~3cm（两指左右）；","id":""}],"text":"","id":"doxcnY6kCIqw0i082UZUfuDnTDe"},{"type":"paragraph","children":[{"type":"text","text":"③所有指关节都向外弯；","id":""}],"text":"","id":"doxcnWqouSwww48YQ45GHVukRNf"},{"type":"paragraph","children":[{"type":"text","text":"④笔杆位于食指的根部（如下图）。","id":""}],"text":"","id":"doxcnkoKMOqEkee8w8Vu8sYbtOg"},,"attrs":{"height":306,"note":[{"type":"text","text":"执笔方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2476017c5da14695a5b88c8300e664d5","width":480},"text":"","id":"doxcnk2eq26YwUeQye0miiDVODh"},{"type":"paragraph","children":[{"type":"text","text":"同时，还要做到：","id":""}],"text":"","id":"doxcnmkYyAe0YMcmwsNUG9hBGmc"},{"type":"paragraph","children":[{"type":"text","text":"①指实：拇指、食指、中指来自三方的力量，处在与笔杆垂直的同一圆角上，将笔杆夹牢，松紧适度。","id":""}],"text":"","id":"doxcn8MAI8SUaSEEowxU0syE1Rf"},{"type":"paragraph","children":[{"type":"text","text":"②掌虚：无名指和小指紧随中指下部依次靠拢，并向掌心弯曲、虛握。小指的整个底部形成一个环形底座，虚贴桌面。","id":""}],"text":"","id":"doxcnYqGg4KaqUsUm4I9Irngdfe"},{"type":"paragraph","children":[{"type":"text","text":"③杆斜：笔杆向右后方倾斜，紧靠在食指第三关节与虎口方向，与桌面呈45°角。如果写较大的字，手指向前伸直，笔杆与纸面角度减小；书写较小的字手指向掌心收缩，笔杆与纸面角度大，宜于精離细琢。","id":""}],"text":"","id":"doxcnWGwGcMy8qowe4sTzMLSAvd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcnsaya08WYQEEgOA9x1F1eDg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"选笔","id":""}],"text":"","id":"doxcn6WKOMyA0IiGeeq3QniKiwd"},{"type":"paragraph","children":[{"type":"text","text":"钢笔","id":""}],"text":"","id":"doxcnawaQGACeGAi4A9G4AT0UCg"},{"type":"paragraph","children":[{"type":"text","text":"具备一支书写流畅的钢笔，是开始练习行书的基础条件。众所周知，随着技术的发展进步，签字笔已经深入到社会生活的各个方面，我们在绝大部分时候都是使用签字笔来写字，使用钢笔的时候比较少。但是想要练习好行书，则必须要有一支书写流畅的钢笔。钢笔不同于签字笔，它可以更好地适应行书的书写顺序，保证书写出来的行书更加漂亮。明尖笔，弹性略大一点，笔画变化稍大，更适合书法。","id":""}],"text":"","id":"doxcnEAOAGWos4YIA0nNNjF1oZ7"},{"type":"paragraph","children":[{"type":"text","text":"推荐钢笔","id":""}],"text":"","id":"doxcnYwCceOkKmec2ADd4rKqTZb"},{"type":"paragraph","children":[{"type":"text","text":"适合练字的钢笔，日笔应该比欧笔更适合一些。推荐白金3776，百乐78G，写乐21K等。","id":""}],"text":"","id":"doxcn4IuGQ8eQO2oostFB9eXqxh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"选字帖临摹","id":""}],"text":"","id":"doxcnycuY0ckCq0eciOKdFwPLIe"},{"type":"paragraph","children":[{"type":"text","text":"买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑，如果还没有学会走路是不可能学会跑的。练习行书也是如此，首先是要学会名家的习作，学会他们的书写方式，照着样子先临摹、描红，然后再过渡到自己来练习书写。在具体选择的时候，一定要选用包括常用字在内的字帖，这样更加有利于今后的具体实践使用。","id":""}],"text":"","id":"doxcneCiuKQMIwUs8CWBJHmBafc"},{"type":"paragraph","children":[{"type":"text","text":"适合练习的字帖推荐以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。","id":""}],"text":"","id":"doxcn8QWMYKeaA8AWSEuXAihhyc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"坚持练习","id":""}],"text":"","id":"doxcnWiO0OWMcK88GWYnoQZnF3e"},{"type":"paragraph","children":[{"type":"text","text":"写好行书并非一朝一夕之功，需要长时间的练习才能成功。对于初学者来说，如果有一定的书法基础，可以很快上手练习行书。如果还没有练习其他字体的书法基础，最好是先练习正楷字、钢笔字然后再过渡到行书的书写，这是学习的一个循序渐进的过程。因此，练习行书没有捷径可以走，有的就是每天坚持练习，持之以恒地坚持下去。一般来说，有一年左右的时间就可以书写出一手漂亮的行书。","id":""}],"text":"","id":"doxcn8aoyKwWaQec4WCK3D6nuRc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"连笔意识训练","id":""}],"text":"","id":"doxcn8Gms0uSOc2S0Cu3LPF6tad"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通过笔画练习","id":""}],"text":"","id":"doxcnGCoc6OEYwk6oI1CFDJi6Rh"},{"type":"paragraph","children":[{"type":"text","text":"要写好硬笔行书，首先要了解行书的运笔特点，即行书是流动的楷书，它的基本笔画就反映了这一特征。因此，我们通过基本笔画训练，逐渐掌握行书运笔要领，为写好行书奠定基础。","id":""}],"text":"","id":"doxcnScECckGgIqYWcrQ83Iu5Db"},{"type":"paragraph","children":[{"type":"text","text":"1、点画：行书点虽小，但很重要，起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。","id":""}],"text":"","id":"doxcnouAoKEIIIkYA2rdaxDWlAf"},{"type":"paragraph","children":[{"type":"text","text":"独立点，写法如楷书笔画中撇点，右下顿笔由轻到重转向左下，方向视下一笔画起笔位置而定。","id":""}],"text":"","id":"doxcnEUqk2WKKe6uGSIceKiXVpb"},,"attrs":{"height":80,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1fbdd0fc295f4a3a815a2b0f3d6b67ad","width":480},"text":"","id":"doxcnw2OQEIcW4wWy6xC8LxP6Nc"},{"type":"paragraph","children":[{"type":"text","text":"组合点，横式排列、竖式排列，重点体现出点与点之间的呼应关系。","id":""}],"text":"","id":"doxcn6si2cc4mWEqKaAlZt0LXch"},,"attrs":{"height":384,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/11b7945f5cb546d3aa8f56b557856e6e","width":480},"text":"","id":"doxcnauKumWsSUEsygh07G1gA6g"},{"type":"paragraph","children":[{"type":"text","text":"2、横画：行书横画在字中起平衡作用，随意性大，起、收笔变化多端，短横有时处理成点，数横并存忌平行划一，要姿态各异。","id":""}],"text":"","id":"doxcn604qGyKGyuSGYr3jMVZbeu"},{"type":"paragraph","children":[{"type":"text","text":"短横：起笔轻，收笔重，末端收笔可向左下勾出，以呼应下一笔。","id":""}],"text":"","id":"doxcnUI2e8UGeQ0cq0Uio4iKv5z"},,"attrs":{"height":123,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/33364bc4a3d44c36a984600ad68c41db","width":480},"text":"","id":"doxcniam0CGK4WAkccrA5SLvR2b"},{"type":"paragraph","children":[{"type":"text","text":"长横：起笔向左下轻落笔，快而有力向右运笔，驻笔后左下方出锋运笔中间轻、两头重。","id":""}],"text":"","id":"doxcnCAuuAGEKE8SyUNGuXQdDAg"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/de867c5dfe5040f793c15991deef8dc5","width":480},"text":"","id":"doxcn6sS6aMkq4yK8A4fEFbiWhb"},{"type":"paragraph","children":[{"type":"text","text":"3、竖画：竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应；右竖向左下出锋引带下画。","id":""}],"text":"","id":"doxcnm68iwScaOMYigna9iEeC9g"},{"type":"paragraph","children":[{"type":"text","text":"悬针竖：垂直书写，出锋不可随意甩出，以免轻浮。","id":""}],"text":"","id":"doxcn8wkQYuIYAguqSomBUypzJd"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f35393ac415d4036a585bd61f1fb8916","width":480},"text":"","id":"doxcnK2wwyiIAImOMuMmhXnVWFh"},{"type":"paragraph","children":[{"type":"text","text":"垂露竖：收尾呈露珠状，但不一定垂直，往往左侧向左凸，右侧向右凸。","id":""}],"text":"","id":"doxcnasEqqkQ6kWc0WgqZNleuic"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/001c7a5eca7a4696a423645cae83d76c","width":480},"text":"","id":"doxcnSOmY6GqC6AKA4YxA5iB17c"},{"type":"paragraph","children":[{"type":"text","text":"4、撇画：撇在字中是支撑重心作用，具有较强的运动感，其特点飘逸劲健，灵动活泼。","id":""}],"text":"","id":"doxcnoEYeUIeIGuEMEd8HDRRLfd"},{"type":"paragraph","children":[{"type":"text","text":"小撇：乃字之精神，写法与楷书同。要注意长短、粗细及笔的走向，出锋锐利。","id":""}],"text":"","id":"doxcn4AUQsicgYYgCWmahZUC3nf"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/787d504d437b41e4a6ca927aa8225742","width":480},"text":"","id":"doxcnqkWesoGi2YKaeoGforcowf"},{"type":"paragraph","children":[{"type":"text","text":"长撇：中间部分要粗些，但勿过分，笔法与楷书同。","id":""}],"text":"","id":"doxcnGYMyKM4eiOcAykrzHfjCWf"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0cc89e15f85447cb8ea62400b62b882f","width":480},"text":"","id":"doxcnGUYEWiOISo6YUG5Fcjmtpu"},{"type":"paragraph","children":[{"type":"text","text":"回带撇：起笔、中间部分与楷同，只是收笔处回锋出钩，以连带下面笔画。","id":""}],"text":"","id":"doxcnoOCEmY8sGGOaoTxSp11PBf"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/c151d3c9337b4869a1c6729eedabb67a","width":480},"text":"","id":"doxcn8KGkYWYkgaIOA3SbSc2rRK"},{"type":"paragraph","children":[{"type":"text","text":"5、捺画：在字中支撑字的重心，姿态飘逸，一波三折，给人以流动的美。","id":""}],"text":"","id":"doxcnuEQC8ywieE8sgJc0w7d1Sb"},{"type":"paragraph","children":[{"type":"text","text":"斜捺：由轻到重再轻收笔出锋，与左撇呼应，行书中亦可写成反捺或捺点：","id":""}],"text":"","id":"doxcnO28eWMYAqsaUQ5yt13vn9g"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6136180da8494cac99a53e5217575bc0","width":480},"text":"","id":"doxcnWWweE2aYMK8Uqo1Iei83ad"},{"type":"paragraph","children":[{"type":"text","text":"平捺：写法同捺，关键把握好它的角度和长短。","id":""}],"text":"","id":"doxcnuCk4I0waigQC4wVFCwSmHb"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/c2edf6f4fa5047f1985d836dde0bd3ba","width":480},"text":"","id":"doxcnI8Ss42GsgyyGQpj2Rd0fSh"},{"type":"paragraph","children":[{"type":"text","text":"6、钩画：钩画种类繁多（竖钩、横钩、卧钩、斜钩、弯钩、竖弯钩、横折钩、横折弯钩等），要做到稳重而有气势，体现出内在力量。","id":""}],"text":"","id":"doxcnweMCQssyieeWOKSnTLf5Id"},{"type":"paragraph","children":[{"type":"text","text":"橫钩：逆势起笔与上笔遥相呼应，转角处不必像楷书那样严格，但要有力；","id":""}],"text":"","id":"doxcnEsiy8EW08SswoJ0zoojdGg"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/360d04f73a124935a82545ba51b8202c","width":480},"text":"","id":"doxcnaukIcI8SegciADGFiLglhe"},{"type":"paragraph","children":[{"type":"text","text":"竖钩：竖垂直钩处多变，可向左上勾出，亦可作左下方出锋。","id":""}],"text":"","id":"doxcnyeYa40QaOcKUQjUBI7wJYe"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/83a689053c144fa0bb7fb8d33086f32b","width":480},"text":"","id":"doxcny06UWciUe0cqe8nyn8dUxg"},{"type":"paragraph","children":[{"type":"text","text":"7、折画：折画一般在字的外围，对字包围之势，书写要有力度，笔势内聚，使字不散。","id":""}],"text":"","id":"doxcnqOCI4kik4uUQOyl4hD6Ric"},{"type":"paragraph","children":[{"type":"text","text":"竖折：由上至左下快速落笔，蓄势向右上方徐徐运笔，中间微上凸；","id":""}],"text":"","id":"doxcnmKCeyG2oUOCIE3gZAvL6Je"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/dac63cf650b44b9b9f49dac8e4663716","width":480},"text":"","id":"doxcnWgS4OqKQYK2kYzKhbSMgee"},{"type":"paragraph","children":[{"type":"text","text":"横折：起笔重落，徐向右运笔，拐弯处快速向下弯去，至收笔处稍驻。","id":""}],"text":"","id":"doxcnMuc8SqYcoCIW8tukQR1sAd"},{"type":"paragraph","children":[{"type":"text","text":"8、提画：提画尖锐挺拔，劲健有力，能增加字的力度和速度，美观。可分为短提、长提、撇提。","id":""}],"text":"","id":"doxcnAIc6MuesGSyAqmcah60tUh"},{"type":"paragraph","children":[{"type":"text","text":"提：行书提起笔由上而左下迅速落笔，稍驻回笔向右上方迅速挑出，出锋尖利。","id":""}],"text":"","id":"doxcnkKUUcs6eywEoI12Bnbj897"},,"attrs":{"height":80,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/413c6246c1d74286b19006478a7d3d31","width":480},"text":"","id":"doxcncyuEgC0eykCGULn3xAzMVf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通过偏旁部练习","id":""}],"text":"","id":"doxcnakuS2WOOA4W66Qy7BrISGf"},{"type":"paragraph","children":[{"type":"text","text":"偏旁部首是笔画的初步组合，虽然行书没有一定书写规则，但笔画走向却有相对固定写法。因此，我们依照人们的书写习惯，约定俗成的写法来领会，并举一反三。","id":""}],"text":"","id":"doxcny2MkeqIaUQWK2YpfiX27cw"},{"type":"paragraph","children":[{"type":"text","text":"一、偏旁部首的练习","id":""}],"text":"","id":"doxcnaoQEkUwiSakI2Td7ejvdkg"},,"attrs":{"height":480,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}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变化写法训练","id":""}],"text":"","id":"doxcnUesAoU2Y8Ykw8rlKc3QZdf"},{"type":"paragraph","children":[{"type":"text","text":"偏旁部首出现于字的上、下、左、右、里、外不同位置时，写法也不尽相同，使得汉字书写千变万化。我们了解了这些变化要领，就可以触类旁通，掌握书写规则，熟习它们的变化规律，举一反三，就可收到事半功倍的效果。","id":""}],"text":"","id":"doxcniQ0sEw4oUYwwoBChGf9ebg"},{"type":"paragraph","children":[{"type":"text","text":"1、土部在左时竖画偏右，下横改提以让右；在字右部时，两横间距拉开：在字上、下时，两横间距紧凑，避免结构松散。","id":""}],"text":"","id":"doxcn2CCkAuyKmIOI6L2vFXkztd"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0af41ffb87d04dcc82b7bfc9b42ba488","width":480},"text":"","id":"doxcnMsK2WESqoEiqKUY0IGShnh"},{"type":"paragraph","children":[{"type":"text","text":"2、火部在字左侧斜撇改为竖撇，捺变点收缩；居字上部笔画收缩，改捺为点；如在字右部或下部撇捺向两边伸展。","id":""}],"text":"","id":"doxcnggoCmqUSKecQ0MaZM2Paeh"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/eeebae2d7979437ba6fd3ad2d2530c84","width":480},"text":"","id":"doxcn2s6Aae4oWSUIiqm98u96Ac"},{"type":"paragraph","children":[{"type":"text","text":"3、木部在左时横短竖长且偏右，捺改点；在右时横短竖长，撇捺伸展；在字上竖较短，撇捺张开；在字下横画长，竖带钩，撇捺改点。","id":""}],"text":"","id":"doxcncacUGAgeokiy8EVMkDPsTH"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a8c7266cdbc247bab3c0b69bd55b08a9","width":480},"text":"","id":"doxcnQmMme0SoAEi80Yiuvytgwf"},{"type":"paragraph","children":[{"type":"text","text":"4、日部竖画柔和自然，横折与竖画协调，中横居中不要太满，底横不可超出右竖。作左偏旁时较窄；在字右部地位适中。","id":""}],"text":"","id":"doxcnsMgeM6k0myGqeg2Z54zZJe"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b07c184b095d46fcb29a2f2d5aa10c3e","width":480},"text":"","id":"doxcnWW0CkEcqCmeuaUh0HfRNog"},{"type":"paragraph","children":[{"type":"text","text":"5、月部竖撇较长，里面两横偏上不写满。月旁在左写得瘦窄些；在右侧写得丰满些。","id":""}],"text":"","id":"doxcnMEGyaOWI2MSSGAxxesNmAf"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0533b72235844564877fe4162198fe03","width":480},"text":"","id":"doxcnQuesucyGOQGAQdNilSBHwh"},{"type":"paragraph","children":[{"type":"text","text":"6、方部点斜取势，横与点保持间距，弯钩重心。方在左横画右边不能长；在字下部点与横相交。","id":""}],"text":"","id":"doxcnoO4sA8iwwisaWemxEIfBWd"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}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，以让右；在字下部要横长撇短；品字结构要上正左小右大。","id":""}],"text":"","id":"doxcnWmcsQaq0kGaSQTcVxk0q7f"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9342f31800c54b8ab56f0f0d2ee84255","width":480},"text":"","id":"doxcnsaCWsGGKm4EcTizCRXWYlV"},{"type":"paragraph","children":[{"type":"text","text":"8、耳部笔顺先横后竖再三横，在字左悬针改垂露，下横变提在右侧稍丰满些；居字上部悬针短。","id":""}],"text":"","id":"doxcnEUWGMEoOQIKeUMwOcU1agq"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/7e86a6d4028a44cd9e589fe27eb9923f","width":480},"text":"","id":"doxcniCQsGI8QeaKIIr0GybZWzb"},{"type":"paragraph","children":[{"type":"text","text":"9、米部在字左侧时横短竖长，捺变点；在字右边撇捺伸展；居字上部竖画的下部短；在字下部，竖画的上部短。","id":""}],"text":"","id":"doxcnKeMA6E2uw4WKukc3qURTzg"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/989aa10495cf497bbdcf70cfe495fc6e","width":480},"text":"","id":"doxcnk0KYmI00yW02KcWhzaXl5d"},{"type":"paragraph","children":[{"type":"text","text":"10、禾部用作左旁，撇橫间距拉开，竖偏右，捺改点；在右时，左撒收缩以让左；禾部在字上写法有两种：①下部伸展，禾部收缩；②下部收缩，则禾部散捺伸展。","id":""}],"text":"","id":"doxcnSagqI8kcWsmYkFVW3oX6Mc"},,"attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/88cf217e36844147bbc244c4a267a610","width":480},"text":"","id":"doxcnM4mKuIAmSMemmqNAPkFODe"},{"type":"paragraph","children":[{"type":"text","text":"总之，笔画之间要遵循上、下、左、右伸缩，高、低、顾、盼照应的规律。\n三、相似偏旁部首的区别训练\n","id":""},{"type":"text","text":"行书写法简省笔画，再加之勾挑、牵丝相连，从而出现一些相似部首容易混淆。","id":""}],"text":"","id":"doxcnciwugAsi8iQs8x41KnHlnd"},{"type":"paragraph","children":[{"type":"text","text":"因此，我们有必要","id":""},{"type":"text","text":"对其分析，找出规律、异同，掌握正确的书写方法。\n","id":""},{"type":"text","text":"1、言字旁和三点水二者主要区别在第二笔。言字旁横折提的横折处实、重；三点水第二笔为右点收笔与第三笔虚连、轻。","id":""}],"text":"","id":"doxcnQoEkQiWMaSsKYBpFrYuftg"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}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笔完成。区别是提手旁第一笔为横，牛字旁是撇折，因此，提手旁第一笔逆势过大很容易写成牛字旁。","id":""}],"text":"","id":"doxcnMG8sko60y8AQiOLzj5X3Ob"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/76bc21d0e08345c3b9846cec581829f2","width":480},"text":"","id":"doxcnUu8uiOyQSAaM6C7S2KnYIg"},{"type":"paragraph","children":[{"type":"text","text":"3、木字旁与反犬旁区别：","id":""}],"text":"","id":"doxcnQS6ea6EwoaAq2jPQlDjw1d"},{"type":"paragraph","children":[{"type":"text","text":"①第一笔笔画和笔势不同，木旁为短横，由左至右上挑，反犬旁为撇，由右上至左下再上覆连弯钩。②第二笔木旁为竖，笔势直；反犬为弯钩，笔势弧形。","id":""}],"text":"","id":"doxcnaUMuiqSMUo6KwdgfLG5uad"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/260ad4c2456645de98a044ea520f5975","width":480},"text":"","id":"doxcnOU4CuYaQc0uACepy2epVZf"},{"type":"paragraph","children":[{"type":"text","text":"4、奉字头与卷字头区别在首笔，奉字头是横，卷字头为合两点，如将合两点写得过近，连丝过粗，近似短横，则二者就","id":""},{"type":"text","text":"相像","id":""},{"type":"text","text":"了。","id":""}],"text":"","id":"doxcnWKG8oUKWsce4YLkSj3YJXg"},,"attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/791c0b78ac8642e8860dee2e5a5cd632","width":480},"text":"","id":"doxcnK6Q4kIWggumuGCvQcO3STb"},{"type":"paragraph","children":[{"type":"text","text":"5、四字头和血字底笔画、笔势相同，区别在最后一横。四字头横画缩在左竖与右折钩内，而血字横将二者托起。","id":""}],"text":"","id":"doxcnCSiI6AwYOa8Ugh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锋并用，点画之间以牵丝映带、似连非连、笔断势连的形式贯通气脉。","id":""}],"text":"","id":"doxcnwI8aMcCyCsAU5pjqYqW5hs"},,"attrs":{"height":402,"note":[{"type":"text","text":"笔法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/fa5386bb596a422eb12fd3f6d7a9fa8d","width":236},"text":"","id":"doxcng24GKMoGk0cgAfuKKVi9Ig"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"点画写法","id":""}],"text":"","id":"doxcnoucemYKam0eoeGBIKYx6Oh"},{"type":"paragraph","children":[{"type":"text","text":"行书点画要注意呼应，同时应在平整中取攲侧之势，在匀称之中得疏密之形，使之变化多姿，特别要注意的是，牵丝往来要有笔断意连之妙，运笔快慢要得疾涩相生之意。圆转处要劲气內敛，方折处要如削金断玉，明快洁净。","id":""}],"text":"","id":"doxcnkgyigAmwSEuUuk6Cj1CLBe"},,"attrs":{"height":198,"note":[{"type":"text","text":"点画写法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9bd4cdf6908345ca8f4f2873f144e4d6","width":581},"text":"","id":"doxcn62c8mOgOYg4WeA4XxcTIVb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"结构","id":""}],"text":"","id":"doxcn0K4QAOQ24M2ACOrq0VXNRe"},{"type":"paragraph","children":[{"type":"text","text":"行书结构千变万化，","id":""},{"type":"text","text":"但基本原则是要重心平稳，","id":""},{"type":"text","text":"变化自然，顾盼呼应。行书多用奔放之笔取攲侧之势，但无论如何奔放也要重心平稳，特别是攲侧中站稳重心，这种奇正相成的结构是行书的特点。行书多变化，变化要顺乎自然。字行大小、疏密、长短、伸缩、开合、俯仰、向背等自然之行，初写时要尽各字真态、本色，切忌故意造作，制奇弄险，走入流俗，能得自然之美方是真本领。至于点画之间顾盼生情，相互呼应要如闻其声，则字字都活泼而有生气了。","id":""}],"text":"","id":"doxcnikakYC4SiKcsCyZlTWYnEf"},,"attrs":{"height":481,"note":[{"type":"text","text":"结构","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ec38a898aa3d45e6a4cd24e15ea3a711","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":"行书章法多用纵有行、横无列，或纵无行，横无列两种。字与字之间要有內在联系，行与行之间要有意态呼应。不必故意笔笔相连，贵在气息贯注，笔断意连。通篇字的大小变化、疏密对比、伸缩之宜都要合乎自然，章法要如音乐之旋律，如诗词之有声律。诗词的“","id":""},{"type":"text","text":"平平仄仄平平仄”","id":""},{"type":"text","text":"抑扬顿挫，一如行书的疏密奇正伸缩，对比中求和谐，对立中求统一。虽是“疏可跑马，密不容针”，仍要密不迫塞，疏不散漫，总之要浑然一体，一气呵成，无意之佳为最妙。","id":""}],"text":"","id":"doxcn04A0IIi6M4EwqMltH6jt8e"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcno8OayaMusYgQyW8qrgX6lf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"选笔","id":""}],"text":"","id":"doxcn8amCSkIwokIgtGEPU7bxlk"},{"type":"paragraph","children":[{"type":"text","text":"初学者在书写行书时，不论是行草还是行楷，因对毛笔的使用以及落笔的轻重缓急尚未把握，可以选择兼毫来使用，兼毫兼具了硬毫和软毫的优点，较为容易上手，而且使用兼毫吸墨量适宜，不会导致初学者在书写行书时停顿出现墨水团影响纸面。","id":""}],"text":"","id":"doxcnuU4iayCCoiwmiotBm1rFRg"},{"type":"paragraph","children":[{"type":"text","text":"挑选毛笔是挑毛尖。笔头要尖、齐、圆、键，即：笔头的锋颖既尖锐似锥又要圆润，笔头既要修削整齐，笔尖又要丰满，富有弹性。一般笔杆多用凤尾竹、湘妃竹、花竹、紫竹制成。挑选笔杆时要看笔管是否圆正光滑，不瘪、不裂、不弯、不斜，长短适度。笔杆上有篆刻的，要看它是否镌秀清晰；有镶嵌的，要看是否曲雅古朴。最后，要看笔头与笔杆是否粘牢，笔头有无发霉、虫蛀现象。先用手轻轻晃动笔头，不能出现松动现象，再轻轻弹笔杆，看是否有掉毛，有毛掉睛，不是虫蛀，便是发霉。检查毛笔笔头是否发霉，还可以闻闻有无霉味。","id":""}],"text":"","id":"doxcnmACksiOOkaUOmSfiLeDWZd"},,"attrs":{"height":300,"note":[{"type":"text","text":"选笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6ba4cf325a9d447dacb3f43f7b146328","width":300},"text":"","id":"doxcn6kyYYQqKyAeyikNcHqck0g"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"选字帖临摹","id":""}],"text":"","id":"doxcnq8wyW6MGEG228k1O0QCzQ5"},{"type":"paragraph","children":[{"type":"text","text":"(1）挑选字帖。挑选一本孩子比较喜爱的、点画比较工整的、结体比较匀称的字帖来临摹。毛笔字帖，应挑选字体小一点的字帖，这样可省去缩小的工夫。","id":""}],"text":"","id":"doxcnsI0Gqq88UAS24JhM2exNvf"},{"type":"paragraph","children":[{"type":"text","text":"(2）先摹后临、临摹结合在习字时，要先摹后临、临摹结合。毛笔照着字帖上的字一点一画地描红。要求写的笔迹不要越出字帖字外，都写在字帖上字的点画中间。这样，久而久之，就容易学到字帖上字的结构。所谓临，就是把字帖放在习字纸旁；照着帖上的字依样画葫芦。要求点画写得象，有轻重节奏和粗细的变化。这样，久而久之，就容易学到字帖上字的笔意。由于临书比摹书难，因此要先摹后临，由于临和摹是两种相辅相成的学字手段，因此要临摹结合，循序渐进。","id":""}],"text":"","id":"doxcnC88eogKKM0YE8PDGFbRyje"},{"type":"paragraph","children":[{"type":"text","text":"(3）仔细读贴。再者，临摹前要仔细读帖。对帖上的字，其点画怎样书写，结构怎样安排，章法怎样布置，都要仔细琢磨并从中找出规律，这样就容易写得有兴趣，也容易写得象，写得好。临摹时，不能贪多贪快，每天坚持一、二小时，反复地临摹几个字，这样才会有真正的收获。对难写的字，更要知难而上，多临摹，多比较。","id":""}],"text":"","id":"doxcnUS8KgaY4qQwyctvspKnzLf"},,"attrs":{"height":800,"note":[{"type":"text","text":"选字帖临摹","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a333a665d1cb4ff5909b128c743317db","width":800},"text":"","id":"doxcne46Wg00GCU0iQhZWcyf8ue"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"坚持练习","id":""}],"text":"","id":"doxcnuaYGKW6s6IsKMZ6vxv5BNg"},{"type":"paragraph","children":[{"type":"text","text":"练习，持之以恒地坚持下去。一般来说，有一年左右的时间就可以书写出一手漂亮的行书。","id":""}],"text":"","id":"doxcnSae6k0m0YiME0ijVWnv9dh"},{"type":"paragraph","children":[{"type":"text","text":"练习行书在开始的时候有一个适应的阶段，熟能生巧，从一个字到一段字，从几个字、一行字到一篇字，逐渐掌握行书的规律，慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养，名人题字，商家牌匾，学校老师甚至是同学之间，只要认真观察，都可以找到别人写的好字，学会了，就成了自己的字。","id":""}],"text":"","id":"doxcno6scGs40mgUwMPZyth6jQf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"行书技巧","id":""}],"text":"","id":"doxcnGgMkWIswy4aWI9CKClG7Yc"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"增加钩挑与牵丝","id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,,"attrs":{"height":111,"note":[{"type":"text","text":"裹锋转笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a3f1f74ba91440eca160f080908baf98","width":280},"text":"","id":"doxcnMuE426Cuqq86su3N3cMtob"},{"type":"paragraph","children":[{"type":"text","text":"所谓裹锋转笔即是在转折处，用笔使毫不能太铺，要有所收敛，同时笔杆要稍加使转，以圆转代替方折，如“思”、“里”、“风”字的转角处即是。行书之所以比楷书书写简便，其中一个原因，就是以圆转代替方折。裹锋转笔，转折处玲珑流利，有一种活泼、自然的流动感。蔡邕在《九势》中所说的“转笔宜左右回顾，无使节目孤露”就是指裹锋转笔。但要注意裹锋转笔处，必须圆转中隐含折意，故书写时仍需驻笔、提按，否则圆而无骨，缺乏方圆兼备之妙趣。","id":""}],"text":"","id":"doxcnQu46uQc0ym0gkP5tazpsZb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"折锋转笔","id":""}],"text":"","id":"doxcngS4cYso6m2YOcbOPSqH22e"},,"attrs":{"height":110,"note":[{"type":"text","text":"折锋转笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e66bd61b140d4bc6904346a18fdde97a","width":280},"text":"","id":"doxcnowgQuu48qgiiQdPTWhB3ng"},{"type":"paragraph","children":[{"type":"text","text":"所谓折锋转笔，即转笔时如同写楷书一样，先提后折，顿笔后再调锋而下，只是书写速度略快些，转折处投有楷书那么方折，而是既看出是方折之意，又有圆浑之感，有骨有肉，骨肉兼备，即所谓“方中有回，圆中有方”。使人看了圆润、浑厚、劲挺。欲如此，则折锋转笔处要有方折的意味，折时要重些，轻重提按要一笔小苟，不能一笔带过。折锋转笔写出来的折画，不仅要方而见骨，而且要给人一种风骨挺立，神采飞扬的感觉。如“曲”“故”“总”字。","id":""}],"text":"","id":"doxcn8wyoa6qcOS8Ql9BXBPfwbw"},{"type":"paragraph","children":[{"type":"text","text":"划重点：行书中的折笔写法，不外折锋转笔和裹锋转笔两种用笔。折锋转笔外露，裹锋转笔内含，各有千秋，但一般说在行书中以裹锋转笔为主，折锋转笔为辅。","id":""}],"text":"","id":"doxcnSuc4QYgOSeSiw3GsR6rf5d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"衄锋勒笔","id":""}],"text":"","id":"doxcnCCSkiC0sgsoAQHudlfnOnh"},,"attrs":{"height":116,"note":[{"type":"text","text":"衄锋勒笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ee8921fbd2e24f41bee540a4ea86cb3b","width":280},"text":"","id":"doxcnIuoC8QGaG8ckCkeRkIAxdh"},{"type":"paragraph","children":[{"type":"text","text":"衄锋勒笔，就是点画中间稍用力顿挫一下，再中锋勒笔而出。衄锋勒笔大多数是用在反撩与撇的交接处，如“又”、“文”、“交”字的反捺中间用笔。衄锋勒笔，用笔收敛蓄势，短小精悍，而形态也有变化。这种用笔米芾书法中常用。","id":""}],"text":"","id":"doxcnk6Q0UwySuKaWiAzqUyGUjc"},{"type":"paragraph","children":[{"type":"text","text":"划重点：衄锋勒笔在衄锋时要有力，勒笔处要迅速，捺画末笔要收得住。","id":""}],"text":"","id":"doxcnG8CMY4Ye22AKIHeQrF9Abd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"提锋连笔","id":""}],"text":"","id":"doxcnuIWimwEq2qQmmnFHSUH1qd"},,"attrs":{"height":122,"note":[{"type":"text","text":"提锋连笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b8816a1af38948ea9a5bf430e6208ec6","width":280},"text":"","id":"doxcnq0A0AmEIo0Uqao9WVG9P8b"},{"type":"paragraph","children":[{"type":"text","text":"提锋连笔即提笔连锋，也就是在点画相连处用笔提而不断，锋尖着纸带出牵丝。凡是点画间有牵丝相连者都是提笔连锋用笔。这种用笔的好处是：“是点画处皆重，非画处，偶相牵引，其笔皆轻。”（姜夔《续书谱》）且主次分明叉递相映带，如","id":""},{"type":"text","text":"“墨”、“照”、","id":""},{"type":"text","text":"“然”的点画牵引处。","id":""}],"text":"","id":"doxcnO4ksAMciK6CwiGcmqcHKJf"},{"type":"paragraph","children":[{"type":"text","text":"在书写过程中，提和按，连和断，互为辩证的关系。提锋连笔是牵丝的写法，非牵丝处都是字的实画。我们在学习过程中，一定要注意用笔要实，不能虚，用笔要按不能提。只有按得下，方能提得起，只有实是实，方能虚是虚。","id":""}],"text":"","id":"doxcnA84wuMOIoiSsi6Dopt0Xoe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"字组黄金法则","id":""}],"text":"","id":"doxcnCgiGA8W6kM2SkL0gdQzkRg"},{"type":"paragraph","children":[{"type":"text","text":"书法的形式是各种造型的组合关系。例如点画与点画的组合、结体与结体的组合、字组的组合、行的组合、区域的组合，直至笔墨与空白的组合等。这些组合从小到大，随着组合关系的不断扩大，审美内涵也逐渐丰富。","id":""}],"text":"","id":"doxcn4oaEoKI4UQYEIJH05D2rVU"},{"type":"paragraph","children":[{"type":"text","text":"行书的结构和章法的规则要求主要是：结体大小轻重要适当，长短纵横要合度，疏密黑白要相称，左右欹正相呼应，使之错落变化，气势贯通，协调统一，神定气足。","id":""}],"text":"","id":"doxcnsaiImSecgksk8cz3YH93ec"},{"type":"paragraph","children":[{"type":"text","text":"以米芾的《苕溪诗帖》为例子，来窥探米颠他这部旷世作品里常见字与字之间的呼应的关系，进行一个简单的总结和归类。","id":""}],"text":"","id":"doxcn0k0GoAkk4M0iuGds7YbXjh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"欹正组合","id":""}],"text":"","id":"doxcni0IM0WgG6uWwOcCtdiZNGb"},{"type":"paragraph","children":[{"type":"text","text":"欹正是指部分偏旁、部首或局部作倾斜、欹侧处理，又能倾而不倒，平中寓奇，增加字的变化和意外的奇趣。欹正得体就是说，歪的与正的阴阳配合到完美，指字写的很完美。","id":""}],"text":"","id":"doxcnecmUemeyK40OCY8jRsbSsg"},,"attrs":{"height":546,"note":[{"type":"text","text":"欹正组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/178baa7a39ff4180878c9ed9d61495ac","width":318},"text":"","id":"doxcnEscwYay0OiS6k37NVA6jvg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"浓淡组合","id":""}],"text":"","id":"doxcnGqScguEQ08IGoPL2bznMkf"},{"type":"paragraph","children":[{"type":"text","text":"书法是通过墨来表现的，墨法是书法的四大要素之一被书家重视。墨色的变化，一般有“浓、淡、干、湿、涨”。作品中的墨色的深浅枯润，可以造成雄奇或秀媚的书法意境。","id":""}],"text":"","id":"doxcnUme0EWuA8cSuApvrE9e3Td"},,"attrs":{"height":568,"note":[{"type":"text","text":"浓淡组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e39795a3e25a4b60a9daf8c4009042ba","width":286},"text":"","id":"doxcnMMAiMamqmsyCqIXIP2QLMd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"大小组合","id":""}],"text":"","id":"doxcn8qEswQyYs2sUwBccUgTHhb"},{"type":"paragraph","children":[{"type":"text","text":"在行书作品中，字的大小是宾主关系，主次分明。把较大的笔画较粗的主字分布原则掌握了，较小的笔画较细的字分布原则也是一样的。","id":""}],"text":"","id":"doxcnUYgkWwG2Wc0qGk32NxN1Eb"},,"attrs":{"height":541,"note":[{"type":"text","text":"大小组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6ff3fa39d3524981ac0cad71137a2061","width":314},"text":"","id":"doxcnCWWosyC0Ew0UKC7akSyYQd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"行书与草书组合","id":""}],"text":"","id":"doxcnqWskck4EEGiuI5iXwtxs6e"},{"type":"paragraph","children":[{"type":"text","text":"首先是字型结构方面，草书的字型变化很大，大小不一，不是内行的话一般很难辨认。而行书大小就比较一致了，看起来很工整。其次是笔法方面，草书笔法相对复杂些，且运笔较疾。而行书相对缓和，其锋刃体现在字形上，和草书有所区别。最后是章法。草书的章法是在起承转合中一气呵成，有一种大将风范。而行书则像一位隐士，不失工整，却又不乏气场。","id":""}],"text":"","id":"doxcnEYAKa2QISWGYKOvqhRwg4e"},,"attrs":{"height":277,"note":[{"type":"text","text":"行书与草书组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/90383df048a94afdbec0e50c6e363e1b","width":136},"text":"","id":"doxcnqOQYg2CCYMWGOMPK5jJuHf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"粗细组合","id":""}],"text":"","id":"doxcneMYkwY4WawKOc56ueSLn4e"},{"type":"paragraph","children":[{"type":"text","text":"线条，尤其是行书的线条，其轻、重、长、短、粗、细、浓、淡、枯、润等等，变化无穷，仪态万千，技法俱分高下，情态尽在其中。难怪有人说书法是“线条艺术”。","id":""}],"text":"","id":"doxcniAesYqomOaiWQNzPg6UB5s"},{"type":"paragraph","children":[{"type":"text","text":"行书线条有其艺术法则的规范性。不是任何随意抹画出来的线条都可称之为行书艺术的线条，他们必须符合行书法则规范性要求并经过长期技法训练之后才能被书者所拥有。","id":""}],"text":"","id":"doxcn8ciuaicgyg4mcnCRoD7lNf"},{"type":"paragraph","children":[{"type":"text","text":"这种规范性要求是客观的，不依书者主观意志为转移。书者只有在掌握了规范性要求的前提下方能发展和张扬其个性。区分写字与书法，必须首先看其是否具有“法度意识”即“规范意识”，是否符合规范性要求。","id":""}],"text":"","id":"doxcnEwwgcSeMyww2aeKnEQXzRf"},,"attrs":{"height":456,"note":[{"type":"text","text":"粗细组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/62577865b9774ead80d124185e270c4d","width":293},"text":"","id":"doxcnUIcoak4Q6o2gUrpXEqE4Sf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"连体组合","id":""}],"text":"","id":"doxcnOeQ8EO8Ge8oCkpN9t60Dze"},{"type":"paragraph","children":[{"type":"text","text":"连画写法在行书中，除了横、竖、撇、挑、捺、点、折、勾外，还常常有多个笔画连在一起写的情况，简称连笔或连画。连画的式虽然纷繁复杂，但分解起来，无非是直线弧线、转和折的组合。直线和爪线较易分辨，也较易书写，只要及时运腕，做到中锋行笔即可，比较不易分清的是转和折。书写复杂的连画时，必须注意灵活运腕和转折相间等原则。","id":""}],"text":"","id":"doxcnSYMSMI6UUa4mmSraJJaudd"},,"attrs":{"height":470,"note":[{"type":"text","text":"连体组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/867370770bee4648afd8b7559b887f80","width":302},"text":"","id":"doxcnYSgAmUkc6GEEkLOyNZIRzd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"横纵组合","id":""}],"text":"","id":"doxcnow2sCMeKYaiIoDvLXjC6af"},{"type":"paragraph","children":[{"type":"text","text":"主要表现为点画、部件或整体字形的长宽比例。楷书字形一般比例较为稳定，而行书则常随时进行调整。","id":""}],"text":"","id":"doxcnKc6gwMmueAKaeyTt7dXJRc"},,"attrs":{"height":471,"note":[{"type":"text","text":"横纵组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/75cbdf604198417e941ffd11199370f0","width":286},"text":"","id":"doxcn46OwQwoQYqg42THs98t3wd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"省略组合","id":""}],"text":"","id":"doxcnk2CMU64sEm0gSw548IE2VX"},{"type":"paragraph","children":[{"type":"text","text":"一般情况是凡字的固有笔画则重些，而两画之间的连接相应轻些，但不可截然跳动，否则呆板无神。牵丝形成连的效果是行书的主要特征之一，但却要运用得当。一味的牵连缠绕，当断不断，反而弄巧成拙，形成浮滑薄弱之病，是行书书写中的大忌。一位书法家讲过“连与断效果不同，连易断难，故当知断”。因此将牵丝引带与点画呼应分开来讲以区别它们的不同功用，这是行书的又一重要特征。","id":""}],"text":"","id":"doxcnGImMyA66WGGool6dUqeHSc"},,"attrs":{"height":398,"note":[{"type":"text","text":"省略组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/dc641cc48d504137ae1d6796c42db352","width":306},"text":"","id":"doxcnW6AugC6ugCAKitgHX6I5li"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"疏密组合","id":""}],"text":"","id":"doxcnk2yOeIS0umQWukupaUWQNc"},{"type":"paragraph","children":[{"type":"text","text":"疏密体现在结字上，就是要加强对比，制造视觉反差。如势巧形密与意疏字缓。","id":""}],"text":"","id":"doxcnMeOasy4IwcuOaAdwZORYlf"},,"attrs":{"height":607,"note":[{"type":"text","text":"疏密组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/92eda23dfa57419bb10a5294d3b4054c","width":304},"text":"","id":"doxcnCoQyKuwCY4GWaCi7rmcChh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"排列组合","id":""}],"text":"","id":"doxcnQ0U6suWSYA2k8huiC9BcTf"},{"type":"paragraph","children":[{"type":"text","text":"从汉字的特点和人的生理习惯来看，因为是右手写字，左手执册个字的笔顺自然是从上至下，自左而右的方便。如果从右往左写，写左半部时，毛笔势必挡住右半字形，不便于安排结构，影响结字的美观。而每个汉字的未笔都是在中下或右下，写完上一字的末笔紧接着写下一字的起笔，竖式书写比横式书写更方便，更便于笔势的连贯。","id":""}],"text":"","id":"doxcnw6AOCwqy2iiUsNlHTucuBc"},,"attrs":{"height":594,"note":[{"type":"text","text":"排列组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/cf2f1f640bed423d989fc7662315b362","width":291},"text":"","id":"doxcnKc4yU0sy0iYYagtL6U79fc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"十大行书","id":""}],"text":"","id":"doxcnUKCEOaSMIg4kj6MxFAZVw3"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第一行书","id":""}],"text":"","id":"doxcn2EYocUG0IUUusjL56LBAOb"},{"type":"paragraph","children":[{"type":"text","text":"《兰亭序》是王羲之47岁时的书作，记述的是王羲之和友人雅士会聚兰亭的盛游之事。全篇从容娴和，气盛神凝，逸笔天成，匠心独运而又不毫无安排造作的痕迹。这样资质超群、功力深厚的作品，被评“为天下第一行书”，确实是当之无愧的。","id":""}],"text":"","id":"doxcnioSqq20aKCiW7RFRfehbED"},,"attrs":{"height":640,"note":[{"type":"text","text":"第一行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2733fc0c42c34dd7a219da258e5c430b","width":1951},"text":"","id":"doxcngIa6o2qoUKoW0gQhOqmnHd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第二行书","id":""}],"text":"","id":"doxcn2mW26Oykc0uYsrwqZu8uRc"},{"type":"paragraph","children":[{"type":"text","text":"《祭侄文稿》，全名《祭侄赠赞善大夫季明文》。原作纸本，纵28.8厘米。横75.5厘米，共234字(另有涂抹字30余个)。现藏台北故宫博物院。颜真卿这篇《祭侄文草稿》是在极度悲愤的情绪下书写，顾不得笔墨的工拙，故字随书家情绪起伏，纯是精神和平时功力的自然流露。这在整个书法史上都是不多见的。可以说，《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一，至为宝贵。","id":""}],"text":"","id":"doxcn2WayUS8SKU82OIzjUPZrDg"},,"attrs":{"height":640,"note":[{"type":"text","text":"第二行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/55f564bd244a488f873420c8cc5a08f6","width":1892},"text":"","id":"doxcnMW8GUQwYKm42aAFdDMZMSh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第三行书","id":""}],"text":"","id":"doxcniiK0g2u0i0QwiiiupSSjPd"},{"type":"paragraph","children":[{"type":"text","text":"《黄州寒食诗帖》，纸本，25行，共129字，是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发出的人生之叹。诗写得苍凉多情，表达了苏轼其时惆怅孤独的心情。《黄州寒食诗帖》彰显动势，洋溢着起伏的情绪。元朝鲜于枢把它称为继王羲之《兰亭序》、颜真卿《祭侄稿》之后的"天下第三行书"。","id":""}],"text":"","id":"doxcneeW2se8eo6sOgHjTXo6OSg"},,"attrs":{"height":349,"note":[{"type":"text","text":"第三行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/90b2d9bc09dd4ba88fc8696728112a7e","width":1112},"text":"","id":"doxcn62cWE4MyG0muKSd1uTQstg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第四行书","id":""}],"text":"","id":"doxcnOuiE0OuW2GWEWwpaHhMBch"},{"type":"paragraph","children":[{"type":"text","text":"《伯远帖》行书纸本，因首行有“伯远”二字，遂以帖名。此帖为晋代真迹，王珣书，故列希珍之宝。此帖行书，笔力遒劲，态致萧散，妍媚流便，是典型的王氏书风。是帖明末在新安吴新宇处，后归吴廷，曾刻入《馀清斋帖》，至清代时归入内府，并与王羲之《快雪时晴帖》、王献之《中秋帖》同列为三希堂法帖之一，现藏北京故宫博物院。","id":""}],"text":"","id":"doxcnamGYYI80IO0WxrvscdfNFe"},,"attrs":{"height":777,"note":[{"type":"text","text":"第四行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/99fcf6f49e0e4e6688ac9ca0a6a3f573","width":640},"text":"","id":"doxcn8KWE0Q2YY2YmqUH1DjoBgg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第五行书","id":""}],"text":"","id":"doxcnaSq8M6wsaemqaotPOhcxWe"},{"type":"paragraph","children":[{"type":"text","text":"《韭花帖》，杨凝式书，墨迹麻纸本，高26厘米，宽28厘米，共7行，63字。《韭花帖》是一封信札，内容是叙述午睡醒来，腹中甚饥之时，恰逢有人馈赠韭花，韭花非常可口，遂执笔以表示谢意。","id":""}],"text":"","id":"doxcnGs6aQk2IMmASC45hI5IY7c"},,"attrs":{"height":611,"note":[{"type":"text","text":"第五行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/12394805404042cf86627f9aa507bb23","width":640},"text":"","id":"doxcnwEcGaaQCc8mmw3MOWCSlxh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第六行书","id":""}],"text":"","id":"doxcnmC6EgUC8YkcoK2oF7Cbmhb"},{"type":"paragraph","children":[{"type":"text","text":"《蒙诏帖》，墨迹纸本，又名《翰林帖》，高26.8厘米，长57.4厘米，大字行书，计7行，27字，书于长庆元年(公元821年)，当时柳公权四十四岁，年富力强，正是他书法创作的颠峰期，所以字如惊鸿击空。","id":""}],"text":"","id":"doxcnQSMUucgqigUiGcVl4YLSFf"},,"attrs":{"height":502,"note":[{"type":"text","text":"第六行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/94a1be7e5ee4433a9b05463e96f5adee","width":1280},"text":"","id":"doxcnauIusG0AIUOGOknFIJAwAe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第七行书","id":""}],"text":"","id":"doxcnsuGQwkq2oWUyeONi6xcCb0"},{"type":"paragraph","children":[{"type":"text","text":"《张翰思鲈帖》也称《季鹰帖》，是欧阳询为张翰写的小传，属于行楷，无款。纸本，纵25.2厘米，横33厘米。共10行，每行九至十一字。字体修长严谨，笔力刚劲挺拨，风格平正中见险峻之势，是欧书中的精品。","id":""}],"text":"","id":"doxcn4QCm028O2GksUTn7C2Ttvg"},,"attrs":{"height":518,"note":[{"type":"text","text":"第七行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/06853ef035aa4ec5804068bda7e9f98a","width":640},"text":"","id":"doxcnSWkoWYiQ4ScOWAzwCNatUg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第八行书","id":""}],"text":"","id":"doxcnuEuewmkgeC4YolUvDFmv3e"},{"type":"paragraph","children":[{"type":"text","text":"《蜀素帖》是米芾三十八岁时(1088年)，在蜀素上所书的各体诗八首。此帖用笔多变，正侧藏露，长短粗细，体态万千，充分体现了他“刷字”的独特风格。结字也俯仰斜正，变化极大，并以欹侧为主，表现了动态的美感。董其昌在《蜀素帖》后跋曰：“此卷如狮子搏象，以全力赴之，当为生平合作。”","id":""}],"text":"","id":"doxcn8Ik4I4SEikIEY9aLE0117g"},,"attrs":{"height":640,"note":[{"type":"text","text":"第八行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/3e4d0e8432ba494abfc37556f780f26e","width":4584},"text":"","id":"doxcnQkqSoQqSYgOglYRanA9RwY"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第九行书","id":""}],"text":"","id":"doxcnkIEIekSI0COIC3Ftity3zS"},{"type":"paragraph","children":[{"type":"text","text":"《松风阁诗帖》墨迹纸本，纵32.8厘米横219.2厘米，全文计29行，153字。台北故宫博物院藏。","id":""}],"text":"","id":"doxcnie2CWMcacGOaQhrGgyg8rg"},{"type":"paragraph","children":[{"type":"text","text":"黄庭坚的行书，如《松风阁》，起笔处欲右先左，由画中藏锋逆入至左顿笔，然后平出，“无平不陂”，下笔着意变化；收笔处回锋藏颖。善藏锋，注意顿挫，以“画竹法作书”给人以“沉着痛快”的感觉。","id":""}],"text":"","id":"doxcnQ2ygo0YmqSCwekYMmTT0ud"},,"attrs":{"height":550,"note":[{"type":"text","text":"第九行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/df085ab818d4451ebc7b3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开始之前先说明一下，要下载Chrome的各类的实用拓展插件你可以访问Chrome网上应用店，搜索安装就可以。
那如果你进入不了应用店，可以先搜索安装一个谷歌访问助手便解决。或者这里给你介绍一个网站，不用访问Chrome应用店也能容易安装拓展插件。
Chrome插件下载网址：https://www.crx4chrome.com/
油猴tampermonkeytampermonkey江湖人称油猴，它能自由定制网页，实现各种你意想不到的功能。即便Chrome仅有油猴而没有其他的拓展也一样能俘获一大批忠实用户。因为它实在是太强大了。
比如油猴能轻易实现解析观看VIP视频、付费音乐下载、解决百度云大文件要调取客户端下载的问题、解决网页不能复制文字的问题、自定义百度云密码、让微软官网隐藏的系统镜像现身等等强大的功能。
IDMInternetDownloadManager简称IDM，它是一款嗅探下载网页视频音频的拓展插件，在不安装客户端的情况下也能轻易下载音视频。
adblockplus一款强力去广告的插件，用它你可以跟满屏飞的广告说再见了。它默认会过滤网页上所有烦人的广告、弹窗等等。本人亲历，adblock跟另一个拓展插件“广告净化器”配合使用，能令你的浏览器零广告，当然这它们结合能去除各大视频网站播放视频时候那长长的广告而直接进入正片播放。
千图网一款能免费下载千图网素材的插件。千图网是公认的素材多的在线素材网站之一，如果你有下载素材的需求，那安装它没错。
FireShotFireShot，一款“任性”的插件，能随意捕捉整个页面、捕捉可见部分、捕捉选定区域等等，如果你有网页长截图的需求的话那就不要错过它了。并且它还有涂鸦编辑的功能，也可能便捷另存为png图片、PDF格式文档等。
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围棋起源于中国，中国古代称为“弈”，距今已有4000多年的历史。围棋使用矩形格状棋盘及黑白二色圆形棋子进行对弈，棋子必须走在空格非禁着点的交叉点上，双方交替行棋，落子后不能移动或悔棋，以目数多者为胜。
围棋组成
棋盘
围棋盘是方形的，由纵横各19条线组成。19╳19形成了361个交叉点。上有九个星，最中间的称“天元”，“元”是第一的意思，“天元”意为天空最高点。
棋子
围棋的棋子分为黑白两色，黑子181枚，白子180枚，黑白子加起来是361枚，恰好和棋盘的点数相同。
围棋规则
对局双方各执一色棋子，空枰开局，黑先白后，交替着一子于棋盘的点上。棋子下定后，不再向其他点移动。轮流下子是双方的权利，但允许任何一方放弃下子权而使用虚着。
一个棋子在棋盘上，与它直线紧邻的空点是这个棋子的“气“”。直线紧邻的点上如果有同色棋子存在，这些棋子就相互连接成一个不可分割的整体。直线紧邻的点上如果有异色棋子存在，此处的气便不存在。棋子如失去所有的气，就不能在棋盘上存在。
把无气之子清理出棋盘的手段叫提子。提子有二种：下子后，对方棋子无气，应立即提取对方无气之子。下子后，双方棋子都呈无气状态，应立即提取对方无气之子。
棋盘上的任何一点,如某方下子后，该子立即呈无气状态，同时又不能提取对方的棋子。这个点叫做“禁着点”。
棋局下到双方一致确认着子完毕时，为终局。对局中有一方中途认输时，为终局。双方连续使用虚着，为终局。
终局时，经双方确认，不能被提取的棋都是活棋。终局时，经双方确认，能被提取的棋都是死棋。
围棋术语
围棋术语是在围棋中用来表达某些特定概念和词语的称谓，它囊括了围棋的专用名词、理论知识以及竞赛规则和对局经验的许多内容，既是中国围棋文化千百年来不断发展的产物，也是人们学习围棋应该掌握的基本常识。
基本概念
气
在棋盘上，棋子与它直线紧紧相邻的空交叉点，就是这个棋子的“气”。单独一个棋子的气数不超过四气，但两个或两个以上相连的棋子则可以有四气以上。棋子若失去所有的气，就成为死棋，不能在棋盘上存在。
目
棋盘上，被一方棋子所围地域的空交叉点，称之为“目”。一个交叉点即是1目，目的数量称为“目数”。
空
用棋子围成的地域。
地
（1）即地域或空。指已为某方占有的地区。
（2）形势判断用语。如“黑地六十目”，即指黑方可望在全局围有六十目的地域。
（3）指占有子和“空”的总和。即棋子围有的全部交叉点。
所包围的目数和活棋本身之总和，称为“地”。
提子
将对方无气的棋子从棋盘上取下，称为“提子”。
打劫
双方可以轮流提取对方棋子的情况。围棋规则规定，打劫时，被提取的一方不能直接提回，必须在其他地方找劫材使对方应一手之后方可提回。
真眼
由几个连接在一起的棋子围住一个或两个空交叉点，则称该点为真眼，简称“眼”。
假眼
由几个没有完全连接的棋子围成了眼的形状，称为“假眼”。在一定条件下，围成假眼的棋子会被对方吃掉。
活棋
棋盘上凡是对方无法提取的棋即是活棋。活棋通常要具备两只真眼。
死棋
棋盘上迟早能被对方提取的棋，即为死棋。死棋不具有两只真眼。
双活
双方互围的棋子均无两只真眼，但又不能制杀对方时即为“双活”，也称“公活”。
禁着点
棋盘任一点，一方下子后，该棋子即呈无气状态，同时又不能提取对方的棋子，这个点就称为该方的“禁着点”。一方不能下子的禁着点，对方可以下子。
布局
布局是一盘棋的先导，也是双方进行阵容部署、各自抢占要点，为双方接触作战作准备的阶段。
定式
是指布局阶段双方在角部的争夺中，按照一定的行棋次序，选择比较合理的着法，最终形成双方大体安定、利益大体均等的棋本棋形。定式的种类有星定式、小目定式、三三定式、目外定式、高目定式等。
中盘
指双方在布局之后从短兵相接开始进行的全局性作战阶段。
收官
中盘作战基本结束，双方所占地域已经大致确定，进而使双方属地完全明确的一系列着法。
星
在棋盘坐标4·四的位置和棋盘正中央标有九个小圆点，术语称为“星”。这九颗星，将棋盘大致划分为左上角、右上角、左下角、右下角、上边、下边、左边、右边和中腹九个区域。
角
指棋盘四个角部星位内侧的区域。
边
指棋盘四个边星两侧的区域。
天元
棋盘正中央的一颗星称作“天元”。
小目
棋盘坐标3·四位置称作“小目”。
高目
棋盘坐标4·五的位置称作“高目”。
目外
棋盘坐标3·五的位置称作“目外”。
三三
棋盘坐标3·三的位置称为“三三”。
急所
指对局时，急需抢占的要点之处，无固定位置。
大场
指布局时，棋盘上下子后能够开拆或分投之处。
天王山
"天王山"一词是指在布局阶段，双方大势力的消涨要点，表示盘面中双方都应抢占的重要的位置。
俗称
挂
布局时在一方有一子占据角部时，另一方在其附近间隔一路或二路的位置行棋，称作“挂”。在三线行棋，称为低挂，在四线行棋，称为高挂。根据双方棋子的相对位置，又可分为一间高挂、二间高挂、一间低挂、二间低挂和小飞挂、大飞挂等。挂的目的在于破坏或侵占对方所占的角部。
缔
也称为“缔角”或“守角”。指在己方原有小目、高目或目外一子的基础上，再下一着棋，使己方两个子相互配合守角的着法。缔角既有利于围占角地，又可进一步控制和开拓边上的大场，是布局阶段常采用的着法。
长
双方棋子紧贴着向同一方向行棋，先行的一方，棋子会始终高出对方一头。长的着法能将己方的棋子连接成一个整体，这样可以延长棋子的气，既可以防止对方的攻击，又便于伺机攻击对方。
立
紧靠着己方原有的棋子，竖着向边线方向下一子的着法。通常多指在二线或三线的行棋。
尖
在原有棋子的斜线上下一子。由于尖的步子较小，也称其为“小尖”。在实战中，尖是一种攻守兼备的下法，既能够保持两子间的连络，又能够出头，控制行棋的方向。
飞
从原有棋子出发，向棋盘“日”字形的对角上下一子，叫小飞。若下在“目”字形的对角上，就叫做大飞。飞还有一种形式，叫做象步飞。与象棋的象步走法相同。
压
在己方有子力配合的情况下，将棋下在对方棋子的上面，其主要作用是压制对方，扩张自己的外势、使己方的棋更加厚实，强大。压的着法往往还有声东击西的作用。
拆
从原有棋子的同一横线上，向左或向右有间隔地下一子。如果间隔一路，称为“拆一”，若是间隔二路，则称“拆二”，其余类推。
挡
在双方棋子相互接触时，直接阻拦对方侵入己方地域或阻止对方被围的棋子向外冲出的着法。
碰
在无己方棋子接应时，紧靠着对方的棋子旁边下一子，称为碰。通常是用于试探对方怎样应对，追求变化的一种手段。
靠
在有己方棋子作策应的情况下，紧贴对方棋子旁边下一子。
搭
在己方棋子与对方棋子间隔一路的情况下，紧贴对方棋子的两侧下一子的着法。也称作“搭靠”。
接
将可能被对方分断的棋子连接成一体的着法。
粘
（zhān）指将被对方“打吃”的棋子与己方的其它棋子连接成一个整体的着法。
挖
在对方相隔一路的棋子中间下一子的着法。这种着法通常用在能够分断对方棋子，并能有效地攻击对方的场合下。
夹
将对方棋子夹在我方两子中间的着法。
滚
也称滚打。指由己方先弃一、二子，然后把敌子打吃成凝聚形状的着法过程。
打
也称打吃。在对方棋子只有两口气时，再下一子，使其仅剩一口气的状态。
双打
下一子同时打吃对方两边的棋子，形成两者必得其一的着法。
提
下一子，使对方的棋子立即呈现无气被吃状态，随即把被吃的死棋从棋盘上提取掉。
征
也称做“征子”，是围棋中吃棋子的一种方法，俗称“拐羊头”。被“征吃”一方的棋子因只有一口气，如若没有己方棋子接应，即使立即逃出，对方可按预定的行棋次序继续紧气追杀，最终会将其全部吃掉。
卡
（qiǎ）在对方棋形的要害处下一子，使其立即呈现某种缺陷的有效着法。
掖
紧挨着对方成“尖”形的两个子旁边下一子，具有约束对方棋形或使对方棋形出现断点或缺陷的着法。
曲
将棋背向对方的棋子走成弯曲的形状，称为“曲”。
玉柱
在角部或边上原有一子的基础上再下立一子的着法。用于加强己方的形势或稳固己方地域。
尖顶
紧靠对方的棋子下一子，在使己方棋子成“尖”形的同时，起到顶撞对方棋子的作用。
鼻顶
在对方棋形正前方顶住对方若干棋子的着法。
连
下一子，将两处分开的棋子若即若离地取得联络，以保证大块棋子安全的着法。连的常用着法有跳、关、拆、小飞、大飞、大跳等。
基本杀法
中局战略
对对方的弱棋，特别是失去很据与其已成活的棋子没有联络的孤棋进行攻击，是中盘战中争取主动的重要手段。
遇到对方出现孤棋，一定抓住机会进行攻击，争取吃掉对方以获取对局中的最大效率。这样往往会引起激烈的战斗，要经常审视围杀中自己出现的问题，否则非但歼敌不成反会断送自己。在攻击中完全歼灭对方一片棋的情况是不多的，多是通过攻击获得其他好处，其中之一即是扩展自己的领地，巩固己之本来不稳固的领地，也通过攻孤棋来达到目的。通过连续攻击压迫敌棋边角，也加强自己的外势，但要分析、计算好，在什么形势下有利,什么形势下不利。
从发展来看，治理孤棋首先考虑的是向中央出头。不能出头，被封住往往是吃亏的，除非逃不出时才行此下策。
当遇到攻击，无法向中央出头时，有机会、有条件时可以联络到自己另一块棋上去。
如出头和渡过均不可能时只得就地求活，如单独活不成，则争取双活，如果双活亦不成时，应停止这一带的活动，停止得越早越好。
缩小眼
从周围挤压对方的棋的生存空间，使它不能有做成两只真眼的空间。
点中心点
对方有一个中心点是做眼的要点，一旦被对手抢先，就能做出两个或两个以上的真眼。比如直三、弯三、刀把五、梅花六，这些棋形的中心点就是杀棋的要点。
打劫杀
在不能净杀的情况下，可以通过打劫来杀死对方，职业棋手往往擅长利用劫争一举获得优势。所以有时双方棋形的厚薄，劫材的多少，也是一盘棋的胜负关键，往往多一枚劫材就决定了大盘的胜负。
胀死牛
将对方点眼的棋子的外气全部紧完，在对方虎口里走一子，然后打吃对方，使对方不能连，将其胀死，称为“胀死牛”。
布局常识
布局指围棋的开局走法，一般在几手到几十手的范围内。局棋的进行一般由布局、中盘、官子三个阶段构成，布局作为一局棋的初始阶段，奠定了整个棋局的骨架与脉络。对局双方各自抢占棋盘上的空地，同时尽量阻止对方占地，由此导入中盘战斗。围棋有谚语“金龟银边莫肚皮”即以国突效率而言魚上最高、中腹最差。
围棋基本布局
三连星
即在边上星位连下三颗子，这一布局极易成大模样。对于另一方来说，必须有“钻地道"和"拆天桥”的能力，否则必败无疑。由于三个子都处在第四线上，故这种布局的侧重点不是占角，而是向中央发展。三连星的用意在于取势或构成模样，中央是它的主要战场，这是三连星的特征。
二连星
较之三连星，二连星更为灵活多变，速度也快，并可视局部变化取地或取势，而不像三连星那样很容易就走上单一取势的道路。
中国流
它的外形与三连星相似，如果把它放平了看，有一种“桥”的感觉，因此在中国也叫做桥梁式布局。
相小目
黑1、3子占相邻的两个角，同以小目的四线一方指向白棋，称为“相小目”。其特点是把着眼点集中在一方。
星小目
黑1、3用星和小目占相邻两角，称为“星小目”
对战心态
修身养性，切忌浮躁
棋手实战时觉得局面都已占优，注意力不集中的情况下出现昏招，形势顿时翻盘。接下来绝大多数棋手会立即要求再来一盘以求“报仇”，但是接下来的对局心态已失去了平常心，于是连下连败以致一败涂地。
具备谋略心机
谋略是为创造有利条件而实行的全盘性行动的计划和策略，也就是创造致胜条件。这需要长期的对弈、总结、打谱的积累。
1、真正的进攻就要有收获，就要使局面朝着有利于自己的方向发展，这叫做攻有所获。
2、单纯的防守不好，具有反击的防守才真正具有威力，这叫做守中有攻。
3、在面对可能出现两种有利局面的时候，选择最大程度有利于自己取得胜利的局面。在面对可能出现两种不利局面的时候，选择最小程度不利于自己的局面。
4、寻找出进攻的机会和线路，熟练地运用各种技战术，使局面朝理想方向发展，这叫做捕捉战机。
5、中局作战过程中，要时常对当前局面有清醒地认识，该攻则攻，当守则守，进攻的线路，防守的要点，都在审局度势的范围之中。
6、多算胜，少算不胜。
工具推荐
书籍
1、《围棋入门一月通》邱百瑞·著
2、《围棋入门（修订版）》翟燕生，徐莹主编
3、《围棋入门（围棋自学速成宝典）》李烨·著
软件
星阵围棋
星阵围棋是行业内知名的AI围棋对弈平台，曾与世界围棋冠军柯洁对战,并多次获得世界围棋AI大赛冠军。目前星阵围棋已推出手机端软件、iPad软件,也可以使用电脑网页版。
弈城围棋
弈城围棋网成立于2005年，是老牌知名围棋平台，主要功能有：各大围棋赛事现场直播、职业棋手全程讲解、Al分析、LeelaMaster.LeelaZero、Elfgo、Minigo全程为棋迷提供对弈分析，查看实时胜率，Al复盘，随时邀请各国棋迷在线对弈。
忘忧围棋
忘忧围棋是一款专门针对手机用户而自主研发的人工智能人机对弈围棋游戏，拥有较强的棋力并附带近七万局名手对局棋谱，是世上最完善的棋谱库。同时忘忧围棋还提供围棋比赛直播功能，可以观看职业棋手比赛的现场直播。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"围棋起源于中国，中国古代称为“弈”，距今已有4000多年的历史。","id":""},{"type":"text","text":"围棋使用矩形格状棋盘及黑白二色圆形棋子进行对弈，棋子必须走在空格非禁着点的交叉点上，双方交替行棋，落子后不能移动或悔棋，以目数多者为胜。","id":""}],"text":"","id":"doxcnkKAsYYYAIQOCaOQVBu3e7f"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"围棋组成","id":""}],"text":"","id":"doxcn22yWEoSk2u0EARXnbuqdhe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"棋盘","id":""}],"text":"","id":"doxcn6is28QqW2cIigHbsXMrzff"},,"attrs":{"height":585,"note":[{"type":"text","text":"棋盘","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b84c3fb5cb444ece9ed51961caea279d","width":587},"text":"","id":"doxcn0yq0aIgAAgu8s98rORsGIh"},{"type":"paragraph","children":[{"type":"text","text":"围棋盘是方形的，由纵横各19条线组成。19╳19形成了361个交叉点。上有九个星，最中间的称“天元”，“元”是第一的意思，“天元”意为天空最高点。","id":""}],"text":"","id":"doxcnogcmeCOGCeiiKOD16az2nh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"棋子","id":""}],"text":"","id":"doxcnyua6cUyUsysWi4eOlOQZrd"},,"attrs":{"height":633,"note":[{"type":"text","text":"棋子","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f01e55bf9ee040f99371e73059ab709b","width":777},"text":"","id":"doxcneMEg8AqCyS8coJQUi56znh"},{"type":"paragraph","children":[{"type":"text","text":"围棋的棋子分为黑白两色，黑子181枚，白子180枚，黑白子加起来是361枚，恰好和棋盘的点数相同。","id":""}],"text":"","id":"doxcnSIe06U4aaKSGGgBmDDrMLd"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"围棋规则","id":""}],"text":"","id":"doxcnsIaSMmYcESQ4oVuCCSCffe"},{"type":"paragraph","children":[{"type":"text","text":"对局双方各执一色棋子，空枰开局，黑先白后，交替着一子于棋盘的点上。棋子下定后，不再向其他点移动。轮流下子是双方的权利，但允许任何一方放弃下子权而使用虚着。","id":""}],"text":"","id":"doxcnyKSCsMAUiIgy0exb1eFT4d"},{"type":"paragraph","children":[{"type":"text","text":"一个棋子在棋盘上，与它直线紧邻的空点是这个棋子的“气“”。直线紧邻的点上如果有同色棋子存在，这些棋子就相互连接成一个不可分割的整体。直线紧邻的点上如果有异色棋子存在，此处的气便不存在。棋子如失去所有的气，就不能在棋盘上存在。","id":""}],"text":"","id":"doxcn6waWKMOUgGYUUZiV8Uz5Ng"},{"type":"paragraph","children":[{"type":"text","text":"把无气之子清理出棋盘的手段叫提子。提子有二种：下子后，对方棋子无气，应立即提取对方无气之子。下子后，双方棋子都呈无气状态，应立即提取对方无气之子。","id":""}],"text":"","id":"doxcn8C2iaAyeAOO6WSedhU3plh"},{"type":"paragraph","children":[{"type":"text","text":"棋盘上的任何一点,如某方下子后，该子立即呈无气状态，同时又不能提取对方的棋子。这个点叫做“禁着点”。","id":""}],"text":"","id":"doxcnKIosCiqW80kcQnYVC6K1Tb"},{"type":"paragraph","children":[{"type":"text","text":"棋局下到双方一致确认着子完毕时，为终局。对局中有一方中途认输时，为终局。双方连续使用虚着，为终局。","id":""}],"text":"","id":"doxcnsUiEmoGWwEwKaGiQY3mVqg"},{"type":"paragraph","children":[{"type":"text","text":"终局时，经双方确认，不能被提取的棋都是活棋。终局时，经双方确认，能被提取的棋都是死棋。","id":""}],"text":"","id":"doxcnWQ4ciUOumAUiiMuJDsS6yb"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"围棋术语","id":""}],"text":"","id":"doxcnu6A88eAIcI8cQvYVpTjk6e"},{"type":"paragraph","children":[{"type":"text","text":"围棋术语是在围棋中用来表达某些特定概念和词语的称谓，它囊括了围棋的专用名词、理论知识以及竞赛规则和对局经验的许多内容，既是中国围棋文化千百年来不断发展的产物，也是人们学习围棋应该掌握的基本常识。","id":""}],"text":"","id":"doxcnmEaiCs2yS2yMwhGdUtBCDe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"基本概念","id":""}],"text":"","id":"doxcnmCISIGY4YK4M87y1rhXExe"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"气","id":""}],"text":"","id":"doxcnsE84yay6WUWAIYeAn5G0fb"},{"type":"paragraph","children":[{"type":"text","text":"在棋盘上，棋子与它直线紧紧相邻的空交叉点，就是这个棋子的“气”。单独一个棋子的气数不超过四气，但两个或两个以上相连的棋子则可以有四气以上。棋子若失去所有的气，就成为死棋，不能在棋盘上存在。","id":""}],"text":"","id":"doxcnGiCoCis4ic6oAZhoM73WFf"},,"attrs":{"height":348,"note":[{"type":"text","text":"基本概念","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/fc2d4ef8756e48ca987a4fd073bd493c","width":617},"text":"","id":"doxcngA4OoKa6MWQ86mdwYYFUxh"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"目","id":""}],"text":"","id":"doxcnu4gQMaGWEOeg2n7xVfyhse"},{"type":"paragraph","children":[{"type":"text","text":"棋盘上，被一方棋子所围地域的空交叉点，称之为“目”。一个交叉点即是1目，目的数量称为“目数”。","id":""}],"text":"","id":"doxcnUMkW264GEoOCWqeQo5vdKb"},,"attrs":{"height":322,"note":[{"type":"text","text":"基本概念","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/cb34c20359404727a3c2e62bf1aeeb5f","width":298},"text":"","id":"doxcnOGEmEMoWe6Ge2yL7OUxykb"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"空","id":""}],"text":"","id":"doxcnWcSy06SQwYyeGERyFcbM0e"},{"type":"paragraph","children":[{"type":"text","text":"用棋子围成的地域。","id":""}],"text":"","id":"doxcnEC8Oca0oCSSYklbbtTCeKg"},,"attrs":{"height":304,"note":[{"type":"text","text":"基本概念","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ce14fd87770645ef8ce7913e47570785","width":842},"text":"","id":"doxcn8CQQ60cEcAIoewuGkdewVe"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"地","id":""}],"text":"","id":"doxcnwOgwmiewkG8wO8OqWPfxFh"},{"type":"paragraph","children":[{"type":"text","text":"（1）即地域或空。指已为某方占有的地区。","id":""}],"text":"","id":"doxcnayGYsOaaASciY3bWiYfUpe"},{"type":"paragraph","children":[{"type":"t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重要手段。","id":""}],"text":"","id":"doxcnWmw6k6cMmIoGaa6npvpZ6e"},{"type":"paragraph","children":[{"type":"text","text":"遇到对方出现孤棋，一定抓住机会进行攻击，争取吃掉对方以获取对局中的最大效率。这样往往会引起激烈的战斗，要经常审视围杀中自己出现的问题，否则非但歼敌不成反会断送自己。在攻击中完全歼灭对方一片棋的情况是不多的，多是通过攻击获得其他好处，其中之一即是扩展自己的领地，巩固己之本来不稳固的领地，也通过攻孤棋来达到目的。通过连续攻击压迫敌棋边角，也加强自己的外势，但要分析、计算好，在什么形势下有利,什么形势下不利。","id":""}],"text":"","id":"doxcnIsOG4wK2KyEuQ3zxUqbS8d"},{"type":"paragraph","children":[{"type":"text","text":"从发展来看，治理孤棋首先考虑的是向中央出头。不能出头，被封住往往是吃亏的，除非逃不出时才行此下策。","id":""}],"text":"","id":"doxcnEIwcAOM2cO6wucALeRD7Og"},{"type":"paragraph","children":[{"type":"text","text":"当遇到攻击，无法向中央出头时，有机会、有条件时可以联络到自己另一块棋上去。","id":""}],"text":"","id":"doxcn0ag8IAmE4eUQGCP5JeRkYb"},{"type":"paragraph","children":[{"type":"text","text":"如出头和渡过均不可能时只得就地求活，如单独活不成，则争取双活，如果双活亦不成时，应停止这一带的活动，停止得越早越好。","id":""}],"text":"","id":"doxcniISGEy4qwS4uGBg5Lg6Tob"},,"attrs":{"height":414,"note":[{"type":"text","text":"中局战略","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/99573fb416a5423e886c956d61c08bb8","width":685},"text":"","id":"doxcnYCICEWCqGG6CYt9QqBHBAd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"缩小眼","id":""}],"text":"","id":"doxcnyk8ySMgGSs4C2HlEQk8qFd"},{"type":"paragraph","children":[{"type":"text","text":"从周围挤压对方的棋的生存空间，使它不能有做成两只真眼的空间。","id":""}],"text":"","id":"doxcngwu44G8kkgEyi21WKFtqXg"},,"attrs":{"height":407,"note":[{"type":"text","text":"缩小眼","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/4db50b42ae1a4afe90a5fc57cd99861f","width":747},"text":"","id":"doxcngUGGcQaKieMwO2zBSJtBMd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"点中心点","id":""}],"text":"","id":"doxcnQCAcmegQiW0UCejTephuxh"},{"type":"paragraph","children":[{"type":"text","text":"对方有一个中心点是做眼的要点，一旦被对手抢先，就能做出两个或两个以上的真眼。比如直三、弯三、刀把五、梅花六，这些棋形的中心点就是杀棋的要点。","id":""}],"text":"","id":"doxcngsQkMKUaIckWGOU6E2bnhc"},,"attrs":{"height":444,"note":[{"type":"text","text":"点中心点","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/324dcc252b194e1884e24356144b0846","width":383},"text":"","id":"doxcnYuWcioQwGqGoiYLSRPE3ac"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"打劫杀","id":""}],"text":"","id":"doxcnS0UUEuM6yEgI0nQaXLEAzy"},{"type":"paragraph","children":[{"type":"text","text":"在不能净杀的情况下，可以通过打劫来杀死对方，职业棋手往往擅长利用劫争一举获得优势。所以有时双方棋形的厚薄，劫材的多少，也是一盘棋的胜负关键，往往多一枚劫材就决定了大盘的胜负。","id":""}],"text":"","id":"doxcnMGmcK0maaQaaA3tL3gXRIb"},,"attrs":{"height":304,"note":[{"type":"text","text":"打劫杀","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f3a8afe070e64febaf2cc2ffe57cce73","width":319},"text":"","id":"doxcnUqqmeemwia0sN7kKYLatrH"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"胀死牛","id":""}],"text":"","id":"doxcnOumUaoYIYOQq4GAZov7Ofb"},{"type":"paragraph","children":[{"type":"text","text":"将对方点眼的棋子的外气全部紧完，在对方虎口里走一子，然后打吃对方，使对方不能连，将其胀死，称为“胀死牛”。","id":""}],"text":"","id":"doxcnCKcMCsgci0mEOyCtKdDKAh"},,"attrs":{"height":491,"note":[{"type":"text","text":"胀死牛","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/664e00b06574407380b4551412ce31f4","width":474},"text":"","id":"doxcn62iQCq62MOUYwrjJIBTGzf"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"布局常识","id":""}],"text":"","id":"doxcneKUaiGss6AiAW8RvnzxmJb"},{"type":"paragraph","children":[{"type":"text","text":"布局指围棋的开局走法，一般在几手到几十手的范围内。局棋的进行一般由布局、中盘、官子三个阶段构成，布局作为一局棋的初始阶段，奠定了整个棋局的骨架与脉络。对局双方各自抢占棋盘上的空地，同时尽量阻止对方占地，由此导入中盘战斗。围棋有谚语“金龟银边莫肚皮”即以国突效率而言魚上最高、中腹最差。","id":""}],"text":"","id":"doxcnuO4uMY4qsI4C6B1lNnN84c"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"围棋基本布局","id":""}],"text":"","id":"doxcncOesCUmmaKkmgXvTDlcmFg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"三连星","id":""}],"text":"","id":"doxcnMW6aCiAeayWw44RLYO0FHb"},{"type":"paragraph","children":[{"type":"text","text":"即在边上星位连下三颗子，这一布局极易成大模样。对于另一方来说，必须有“钻地道"和"拆天桥”的能力，否则必败无疑。由于三个子都处在第四线上，故这种布局的侧重点不是占角，而是向中央发展。三连星的用意在于取势或构成模样，中央是它的主要战场，这是三连星的特征。","id":""}],"text":"","id":"doxcn2aOYq0k4Y68AyM1U6DKYoe"},,"attrs":{"height":496,"note":[{"type":"text","text":"三连星","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6b5d10c42ce64f8bbb0827727dff8d2e","width":530},"text":"","id":"doxcnSC2MiGak46eocnQEicDFuh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"二连星","id":""}],"text":"","id":"doxcnQ4MgMqogI2GwgVGVqS2wsg"},{"type":"paragraph","children":[{"type":"text","text":"较之三连星，二连星更为灵活多变，速度也快，并可视局部变化取地或取势，而不像三连星那样很容易就走上单一取势的道路。","id":""}],"text":"","id":"doxcnYiSyieaMQKsovJKOhesOgK"},,"attrs":{"height":537,"note":[{"type":"text","text":"二连星","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2736b097837a4d22bd444b46a56b9194","width":561},"text":"","id":"doxcn8qASQ80YGysWyWChdgTJCf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"中国流","id":""}],"text":"","id":"doxcneUWo2M806EEiqyLYO7E4zx"},{"type":"paragraph","children":[{"type":"text","text":"它的外形与三连星相似，如果把它放平了看，有一种“桥”的感觉，因此在中国也叫做桥梁式布局。","id":""}],"text":"","id":"doxcnUMm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讲解、Al分析、LeelaMaster.LeelaZero、Elfgo、Minigo全程为棋迷提供对弈分析，查看实时胜率，Al复盘，随时邀请各国棋迷在线对弈。","id":""}],"text":"","id":"doxcnaIY4kWkYqWQaqM1xK1HHgb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"忘忧围棋","id":""}],"text":"","id":"doxcnEo0WWqYI4S46K6uML3OESc"},{"type":"paragraph","children":[{"type":"text","text":"忘忧围棋是一款专门针对手机用户而自主研发的人工智能人机对弈围棋游戏，拥有较强的棋力并附带近七万局名手对局棋谱，是世上最完善的棋谱库。同时忘忧围棋还提供围棋比赛直播功能，可以观看职业棋手比赛的现场直播。","id":""}],"text":"","id":"doxcna6CwQIG22u28GFHJPOI4Z6"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnGeKK0sUooA4MALq0CIJHTf"}]%3C%2Fhowto_content%3E《稻香》
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HONOOLLLLKKJHONOOLLLLPPOHONONMHNMNMLHMLMLKKJKLMML
HONOOLLLLKKJHONOOLLLLPPOHONONMHNMNMLHMLMLKKJKLMMLHLHKJHHLHKJH
《亲爱的，那不是爱情》
OOONMMLMLLKJL
HMMMMLOJJIIHI
JIHGHLL
LHMLLL
MNOOOLKJIHH
OOONMMLMLLKJL
HMMMMLOJJIIHI
JIHGHLL
LHMLLL
MNOOOLKJIHH
JJLPQLNNOM
KKMSRMOOPN
LLJPOPQPOJ
ONLONNLQQRP
JJLPQLNNOM
KKMSRMOOPN
LLJPOPQPOO
MOSRQPOO
《蒲公英的约定(第一段及中段)》
JKLLLLMNOONPMLLPOQQ
OPQQRQPQOMNOPOOMQQP
JKLLLLMNOONPMLLPOQQ
OPQQQMNLPOONPMLLPOQQ
JLOQQRPPSNOQRSOOPQQ
JLOPQRPPSNOQRSOOPO
《夜曲》
MNOOOONQQTTTSRSOORRRSQNQPPONOONOOOONQQTTTSRSOORRRQPNOM
《菊花台》
JJIJJLJIJHHIJLJIIHI
JLMLMLLJLEJIJLJIIIHI
JJIJJLJIJHHIJLJIIHI
JLMLMLLJLJIJLJIIH
HIJJLMMQPOOMLMLJIH
FHIIHIHIJJLMMQPOOPO
LLJNOHIJIH
ABCCEFFJIHHFE
FECBAFABBAB
ABCCEFFJIHHIH
EECGHABCBA
《七里香》
LO-NOO-OONMNM-L-LL-KJL-LLMIKK-J-LO-NOO-OONOPP-OLONOOO-NNM-M-NML-LOO-JMM-LLPP-IKKJ-LQQPPOOPOQQPP-LOOO-OONMLNOPOO-LOOO-OONMLPQRQQ-LOOO-OONMLPOPRQO-OOQPOONPOO-
《牛仔很忙》
EHHHIJHHFHHHFEEHHHIJHHFHHIHEHHHIJHHFHHHFEEHHHILKJHH
花海
hjjjihijhjjkjlhhkkkjhejhjihjihji
hjjjihilhjjkjlhhkkkjhljjolkkhhgh
《回到过去》
注：括号内音符需快速弹奏。
OQQPPONO-
ONNMMLJM-
MLLOOQQP-
POOO-NM-L-
OQQPPONPO
ONNMMLJM-
MLLL-LKJK-KK-QPQ-P-
PPPOPQ-QP-JNO-
ONOTSS-
OPOQ-OO-NML-
LOPOQ-OR-QQP-
LOPQQ-QPQR-QQP-POQQQPPONO-
POQQQQ-OOSSQQQ-OOPPOOO(M)OMOP-
LOPQQ-QPQR-QQP-POQQQPPONO-
POQQQQ-OOSSQQQ-OOPPOOO(M)OMOP-
L-OPNO-
QQQQPOPQQQR-QPOPPPOO(M)OOO-
OPOQQQOOOOPPPP(M)O-OOPPPOQRSS-RQP
LOPQQ-QPQR-QQP-POQQQPPONO-
POQQQQ-OOSSQQQ-OOPPOOO(M)OMOP-
LOPQQ-QPQR-QQP-POQQQPPONO-
POQQQQ-OOSSQQQ-OOPPOOO(M)OMOP-LOPNO---
OQQPPONO-ONNMMLJM-MLLL-SRQSRRQOP-LOPQO---
《晴天》
L-LH-H-IJL-LH-HIJ-IH-LL-LH-H-IJJ-JIJ-KJIK-JI-H
H-HJ-KJ-IHIJJ-JJ-IJIH-GEH-HJ-KJ-IHIJJ-JJ-IJIH-HG
FHHH-GHH-HHHH-GHHHHH-GHH-HHHH-LLLLL-ELL-LLL-LLKJ
HHHH-FG-HL-KJ-HHF-FHHH-JHFG-HL-KJ-HI
JI-KJ-JH-LN-ON-LHH-MM-M-LL-L-KJ-IJ-KJ
《简单爱》
括号里的一起弹
M-MO-OM-OL-MO-OM-OM-MO-OM-OLMOM-OP-（OP）-O
M-MO-OM-OM-MO-OM-OM-MO-OM-OLMOM-OP-（PO）-O
O-O-OOONM-NOO-LOO-O-OOONM-LL--KL
S-O-OO-SONM-NO-(OP)-QRR-(RQ)-QPS-RR-RQ-(PO)-O
L-OP-QP-QRSS-SR-（QP）-PL-OP-QP-QRSS-ST-S--Q
《千里之外》
IJIJ-LIJIJ-LI-HH-F-HIJIJ-LIJIH-IJ-HH-J-I
IJIJ-LIJIJ-LI-HH-I-HIJIJ-LIJIJ-ML-MO-MP
L-LLKK-M-L-KK-KK-H-KK-KK-O-O-P-P-OP-PP-Q-Q-P
LP-PP-QP-OL-MO-OO-P-QP-PP-QP-OL-MO-OO-P-Q-P
LP-PP-QP-OL-MO-OO-P-QP-PP-OP-PP-OM-OO-M-OO
[E-EEHHEEHHEEHHIJE-EEHHEEHHEEHHI-H
E-EEHHEEHHEEHHIJE-EEHHEEHHEEHIH]
IJIJ-LIJIJ-LI-HH-F-HIJIJ-LIJIH-IJ-HH-J-I
IJIJ-LIJIJ-LI-HH-I-HIJIJ-LIJIJ-ML-MO-MP
L-LLKK-M-L-KK-KK-H-KK-KK-O-O-P-P-OP-PP-Q-Q-P
LP-PP-QP-OL-MO-OO-P-QP-PP-QP-OL-MO-OO-P-Q-P
LP-PP-QP-OL-MO-OO-P-QP-PP-OP-PP-OM-OO-M-OO
《止战之殇》
MNOJ(JK)JKGIJKGHIJF
MNOJ(JK)JKGIJKGEF
《蜗牛》
JJJKJIJIHHHKKIHHIJHHLLMLKJKGHEEJJKJIJHEEHHEHIJKLHONNNONMMNLHKLMMNOPQLEFLKKLKJIHIEEHHEHIJKLHONNNONMMNLHKLMMNOPQLEFLKKJIHHGH
《倒带》
OMOMJMOMOMOMJMOMOLOLJLOLOLOLP
LQPPQPLQPPQOOPQOOPQORQMQPPQPLQPPQOOPQOOPQOPOOONLONLOONLONLOONLONOPPPPPOQP
RRQRSQPQQPQPOMORRQRQPOPPPPPOTS
SRRQQPRQSRRQQPPORRRSSRQRUUUWWVVU
SRRQQPRQSRRQQPPORRRSSRQRQRQRSRQOPO
《搁浅》
JKJIJ(JK)J(IJ)KJIJKGH
(LM)LHKJKL(IJ)I
JKJIJ(JK)J(IJ)KJIJKGH
(LM)L(OP)OP(PQ)QQOOP
ONMMMNLLJNNOPPO
NNNMMMMMPPOP
JOPOKKKKJINOPLLKJI
JKLLMHMMN(LI)IKJIJ
JLPOKKKJINOPPPNPO
MNONONMNONO
《珊瑚海》
oooonmnmloooopplrqqssooqqmmopqrqp
oooonmnmllpqqoooonmnnooonnoloopqop
lppqqrqotsstuwwvvututssuuvvututs
qttootsrqqppqpoppoo
《给我一首歌的时间》
MNNNNL
LLLLO
OOOOO
NNNOPON
MNNNNL
LLLLO
OOOPOQQPOQOP
OSSQQ
NSSPP
OSSQQ
PPPQPON
OSSQQ
NSSPP
OOOMPMO
OOOMQOP
LQQQPPOOPQP
LQQQPPOOMPO
QQRQPOOMOMQL
LLMPOOOOOOOPP
LQQQPPOOPQP
LQQQPPOOMPO
QQRQPOOMOMQL
LLMPOOOOOOOPP
LQPOPO
OOPQRSSS
SSTQRSSRRQR(OQPO)
RRRRSPQRRQQPOPO
OOPOUTUT
TTWUSSPO
QRR(MO)QRSQPQP
《最长的电影》
HIKJJJKKJHKLHIKJJJIHFII
HIKJJJKLKJHKLKJOJIIHH
HIKJJJKLKJHHIKJJJIHFII
HIKJJJKLKJHPOEKJOEJINNO
QPOMPPQPOLPPOO
QPOMPPORRQPO
LRRQPQQQRQTQRPPPQPSSPPOPO
LJKOOPRQPNO
《枫》
VQU
VUPS
STOS
RRoLQ
IJHIJ
ONOONO
OOOOLOPPPPQPLOOOOPQRRQQ
QPOOQPOPQPOOMOMOMOPP
OOOOLOPPPPQPLOOOOPQRRQPQ
QPOOQPOPQPOOMOMOMOTTS
LONOPQOPSSPONOOONOPQRQ
QQSSTONNTTSSRRQ
RSSRRQQPPQSRRQQPPO
LONOPQOPSSPONOOONOPQRQ
QQSSTONNTTSSRRQ
RSSRRQQPPQSRRQPOPOO
JONJONJPONJO
OQVUQVU
QWVUVUSPQ
OPSVWZ
OOOOLOPPPPQPLOOOOPQRRQPQ
QPOOQPOPQPOOMOMOMOQQP
LOOLOPQPMPPOONNPPOOPON
OSSRQRSROPQRQQPPPQRQQPPOPO
LONOPQOPSSPONOOONOPQRQ
QQSSTONNTTSSRRQ
RSSRRQQPPQSRRQQPPO
LONOPQOPSSPONOOONOPQRQ
QQSSTONNTTSSQUV
RSSRRQQPPQSRRQPOPOO
《龙卷风》
LPPOQLPPOQMQQPRMQRQPO
LPPOQLPPOQMQQPRMQRQPO
TTQQOOMOSSPPNNLNOMOMOMOPQRP
QRSRQQRSSRQQVSRQQRSSRQQ
OPQSSOPQSSOPOPOPQRSV
OLQORQOPQP
OLQORQOPQP
OLQORQOPQP
OLQORQOPQP
OLQOOLQO
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