临古
http://pic.shufa.org/pic/20191103/1572741723411218_8.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20http://pic.shufa.org/pic/20191103/157274172370637_335.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
http://pic.shufa.org/pic/20191103/1572741724164676_292.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
http://pic.shufa.org/pic/20191103/1572741724607412_260.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
http://pic.shufa.org/pic/20191103/157274172502845_254.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
http://pic.shufa.org/pic/20191103/1572741725426112_344.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
http://pic.shufa.org/pic/20191103/1572741725882576_609.jpg?watermark/1/image/aHR0cDovL3BpYy5zaHVmYS5vcmcvcGljLzIwMTgxMjI4L3FpX25pdV8xNTQ1OTYzOTQ5MjE3Xzc5MV8zNzRfNDQzLnBuZw==/dissolve/50/gravity/SouthEast/dx/20/dy/20
逆入回收
米芾“无垂不缩，无往不收”，回收，是指下一笔画的开始，逆入是上一笔画的继续，逆入回收主要强调上下笔画的笔势连贯。但是，后来的理论研究把点画从连续书写中分割出来，就点画论笔法，为收笔而收笔，为起笔而起笔，回收与逆入之间没有笔势连贯，写出来的上下点画互不关联。甚至还会把逆入与回收误解成封闭式的藏头护尾，在点画两端重重按顿，截止了点画的运动态势和外向张力。
董其昌《画禅室随笔》：“米海岳书无垂不缩，无往不收，此八字真言，无等等咒也，然须结字得势”。强调“结字得势”是前提。
页:
[1]