古人有国学的根基,毛笔书写的氛围,在审美上有认同感。古人已逝,留给我们的只有纸上的墨迹拓本,及似乎语焉不详的书论。谁都没有见过王羲之、颜真卿是如何挥毫的!我们只有通过墨迹拓本细心推测其用笔方法特征,同时对其书论进行研讨作为辅助手段。当然最为直接的方法就是实临,即通过实临,在用笔节奏上尽量与古人接近,感受其运笔的节律。如唐孙过庭《书谱》云:“察之者尚精,拟之者贵似,况拟不能似,察不能精;分布犹疏,形骸未检。跃泉之态,未睹其妍;窥井之谈,已闻其丑。纵欲搪突羲、献,诬罔锺、张,安能掩当年之目,杜 The ancients have the foundation of Sinology, brush writing atmosphere, there is a sense of identity in the aesthetic. The ancients had passed away, leaving us with only a copy of the ink on paper, and a seemingly obscure book theory. No one has ever seen Wang Xizhi, Yan Zhenqing is how to brush! We only through intimacy speculate ink brush method features, at the same time discuss its book theory as an auxiliary means. Of course, the most direct way is to come in, that is, through the real, as far as possible with the rhythm of the ancients close to the ancients, feel the rhythm of its pen. Such as Tang Sun over the court, ”Book“ cloud: ”Observer is still fine, to be as expensive as you like, the state can not be simulated, can not be fine; distribution is still sparse, Yeon; peephole, has heard the ugly. Indulgence lingering Xi, Xian, framed indiscriminately Chung, Zhang, Ann can cover the year the project, Du