Ask how to solve the problem of knot acceptance.

On these two issues, the viewpoint of Jishan Jingshuitang has rules to follow, which reflects a balanced relationship rather than a balanced relationship. The key lies in the vertical and horizontal contrast and unity. Regardless of length, thickness, size, density, etc. , is a kind of relationship between yin and yang, and the inheritance of characters involves the problems of style and brush style. My feeling is that the conclusion of a character is actually the relationship between the parts of a Chinese character, and the style and gesture are how to organically combine these parts. For example, Wang Duo pays more attention to posture, while Dong Qichang pays more attention to brush posture.

Gestures talk about a kind of time rhythm, while gestures talk about space modeling. Therefore, the so-called gesture is how to organically connect stippling to form a time rhythm. Just like gymnastics, different movements are connected by certain connecting movements. Therefore, through dismemberment and intensive training, every movement trajectory is very accurate. Then these parts are connected through a certain connection action, that is, the pen is converted back and forth, forming a combination of stippling and composition. For example, Dong Qichang's works reflect not only the combination and structure of strokes, but also the connection and combination of words. For example, the spacing between words is deliberately opened, so that the strokes in the spacing between words are one long and one short, one sparse and one dense. In contrast, a line of words becomes a combination of several groups. The number of words in each group is different, just like the length of notes in music and the strength of long and short sentences in poetry. Has formed a certain time rhythm. This is a typical inscription by Dong Qichang. The first line of the inscription has a large spacing. The relationship between words in Jishan Jingshuitang is relatively independent. Willow branches are relatively independent, with a tendency of one word. The first line of Jishan Jingshuitang is relatively calm and dignified. Start from the second half of the line and turn to Lingshan Jingshuitang.

Yes, the last stroke of the last stroke is actually the beginning of the next stroke. Although the willow branches were broken from heavy to light, they moved to Jishan Water Mirror Hall in the air.

It's just that some of them are reflected by hints.

Some of them have been damaged. They are connected with Jishan Water Mirror Hall.

Old Dong actually studied old rice, but his writing style was relatively stable. The first line is dignified, the second line begins to fade, and the font is long and flat, forming an alternating contrast.

Old Dong's words seem to be independent, but in fact, the breath is very well connected.

In Wang Xizhi's works, all kinds of calligraphy appear alternately, biased, biased and biased. A rhythm can also be formed by changing the font. You will find that in Dong's works, some words with heavy strokes will appear organically.

But the words with heavy strokes do not appear in pieces, but form an oblique echo. Correspondingly, the strokes of adjacent lines are very light. This is the rhythm contrast between the lines. And if the words in the previous line are loosely written, the next line will be more compact and the next line will be narrower and longer.

The words Jishan Jingshuitang seem to be independent of each other, but the downward trajectory of the last stroke of each word is exactly the same as the first stroke of the next word. Font length, flat, large and small can of course form a rhythm contrast, and the contrast on the side is that the words tilt left or right, and this rhythm is also a willow branch with different lengths. Why did Wu's last stroke have to be written in such a small point? Jishan Jingshui Hall is different from the second word because they are similar in the same direction. The law of large structure of characters is the same as that of inverse product mirror, but the structure of running script must be related to the upper, lower and left characters. Gestures reflect a kind of relationship between importance and speed, or urgency, while Wang Duo emphasizes body posture, forming an undulating gesture, which is more exaggerated and exciting visually. In short, it is not flat. When the length is complex, the density alternates with Dong Qichang's show. It is a gentle and charming willow branch, savoring the connotation. The good smell of Jishan Water Mirror Hall is the willow branches between the lines. Do you think we should learn some contemporary works of the same style on the basis of studying the classic Fa Tie? Jishan Water Mirror Hall is thick and ancient, but not thin. There should be a vertical and horizontal comparison today.