△我的经验,作画不打草稿,虽巨幅经营,也只打一个小稿,安排大体位置,然后下笔……如果一树一石,都极精到地勾出,这样草稿打死了,下笔反受拘束。△在章法之间续续生发,虚实得当,笔畅神怡,如是血脉相通,精气相贯。△章法千变万化,每因局部而牵动大局,决定在一个势上。△要有倾向性,山水才有气势。一开引起一合,开合之间,要有一定的倾向。开是制造矛盾,合是统一矛盾。小开合包括在大开合之间,也即是次要矛盾包括在主要矛盾之中。矛盾制造得越尖锐,统一得越好,也就越有气势。△险绝一定要有倾向性,即倒向一面。如下方坡脚重在右面,则上面峰头倒向左面。反之亦如是。但总要有一个重 △ my experience, painting is not drafts, although the huge business, only to play a draft, arrange a general position, and then write down ... ... If a tree and stone, are very fine to hook, so draft was killed, write down Anti-restraint. △ in the chapter between the law continued to germinal, actual situation properly, the pen is exquisite, if the same vein, essence of consistency. △ chapter ever-changing law, each and every part of the overall situation, decided to a potential. △ have a tendency, the landscape has momentum. Open a combination, opening and closing, there must be a certain tendency. Opening is to create contradictions, and unity is the unity of contradictions. Small openings and closings are included among the major openings and closings, that is, minor contradictions are included in the main contradictions. The sharper the contradictions, the better the unification, the more momentum there is. △ risk must have a tendency, that is, one side down. The following foot slope in the right side, then the top of the head down to the left. The opposite is true. But always have a heavy weight