Question 2: What is the extension in automobile sales? Means expansion! Similar to going out to contact business. Go out to contact customers and open up markets!
Question 3: What are the calligraphy terms of "inner L" and "outer extension"? Inner l refers to the convergent posture; Abduction refers to a gesture with vertical intention. Shen, a close friend, thinks: "The pen is tight and tight, and it is made of inner L; Instead, it must be outreach. It is very reasonable for future generations to distinguish the calligraphy traces of the two kings by the extension of inner L. It is said that the great king (Xizhi) is an internal L, and Xiao Wang (dedication) is an external extension. Try reading the book of the king, vigorous and straight, beautiful and quiet; Xiao Wang's book is both rigid and soft, flashy. " And pointed out: "The internal L is the book of bone (spine) victory, and the external L is the book of muscle (strength) victory. "
Question 4: What is the significance of real estate outreach? Outreach mainly refers to actively going out to find customers, mainly including the following ways:
1. Send a single page in a crowded place, and try to get the phone number of the intended customer for future contact;
2. Set up stalls in crowded places to attract prospective customers to inquire and leave their numbers;
3, go to some older communities to send a single page, generally they want to improve the housing relatively more.
Your friend went to other real estate to see it, which is called "stepping on the plate". As the saying goes, know yourself and know yourself. Pretending that customers go to other properties is to get more information about competitive properties from the salesmen of the other properties, and to get as much information as possible about prices, apartment types, discounts, remaining sets and so on, mainly for comparison.
Question 5: What is internal L? What is outreach? Refers to the development of brushwork. The so-called "book strength (strength) wins." Tang Yu Shinan's "Pen-marrow Theory" cloud; "The longitudinal center of the grass is unrestrained, turning the wrist into a frown, hanging the pipe to gather the front, spreading from the inside out, turning left outside, turning right inside, rolling up and down, stirring and exhaling, and turning inside to hide the front."
Question 6: What does Bank of Communications mean by expanding its business? It means applying for a credit card, pulling a deposit or something.
Question 7: Can girls expand their real estate? What do you mainly do? To tell the truth, it is cheap labor. You can't learn anything. If you are serious, you will be very lucky. If you are not serious, you will be very relaxed. Fortunately, you will be miserable. It's up to you.
Question 8: In calligraphy, what is the internal L and what is the external extension? In the theory of calligraphy, the ancients often used "pouting inside" and "expanding outside" to describe the brushwork.
As mentioned earlier, "pout" is the shape of "pout flute" and "pout pulse". When turning the pen to the right, the palm of your hand is inward, and the tips of your food, middle finger and ring finger are forced respectively, which is called "inward pouting". "Extension" is just the opposite. "Stretching" refers to pressing a pen, which is in a "head" shape, and it is a pen that points to the left. "Protruding inward" and "protruding outward" are continuous states that describe the movement of hands, but they are by no means specific stroke states of characters. However, they indirectly and naturally reflect the stroke states. For example, the upward sloping "horizontal" is the "stretch" pen, and turn left; On the other hand, lying flat "horizontally" means "pouting inward" with a pen and turning right. So is "thinking".
For example, the "flower" in cursive script is "extension", which is written left, but restored by turning right a little; The "king" of cursive script is "pouting inward", turn right, and Wang Xizhi is used to turning left in the last painting to restore "extension".
For example, next to the word "earth", you can "extend" the left pen and the left bag; You can also "turn the pen inside out" to the right, which is the right bag.
Another example is the word "Ye" in Sun Shu Pu, which is written in two ways, namely "pout inward" and "stretch outward". The word "pouting inward" turns right at first, and then immediately turns left when it is restored to the last picture. "Abduction" starts with the pen in the left hand, immediately turns right and "pouts in" to the end.
"Ou Zi" begins with a right turn, that is, "inside and outside", which is a "back" pen, so the font is tightly closed. On the other hand, the word "Yan" is the opposite. When you start a pen, you often turn left, that is, "reaching out" and "pouting inward", which belongs to the "elephant" potential pen, so the font is generous.
In short, it begins with "internal pouting" and ends with "external expansion"; It started with "external expansion" and finally "pouted internally". Start with a left turn and end with a right turn; It starts with a right turn and ends with a left turn.
The ancients called everyone "external expansion" and "internal expansion", which can be used freely and comprehensively. When you immerse yourself in it for a long time and see the pen in the word "Zen" and the eye in Zen, you will sigh that great calligraphers have enjoyed a reputation since ancient times, and everyone is flexible, watertight and painting in chaos.
Whether to "stretch out" or "pout" more, whether to turn left or right more, is entirely out of everyone's habits and differences, so there is also a saying that there is no definite method.
Question 9: Detailed introduction of abduction Abstract: In essence, abduction and L refer to two opposing forces in painting and calligraphy, which are the result of splitting and developing on the basis of China's trip, and are the two most basic elements in China's painting and calligraphy. On the basis of the transformation principle of Yin and Yang, Tuo and L have derived three basic brushstrokes: inner L, middle bank and outer extension, creating three main styles of evil, neutralization and sunshine wall, and then it is impossible to unify the three basic brushstrokes. The principles of two forces, Tuo and L, are interlinked with centripetal force and centrifugal force in physical mechanics. People will be influenced by objective intention and subjective intention when writing with a pen. When the objective intention is dominant, the pen power basically moves to the center of the line, resulting in the hidden effect of "force in painting" On the other hand, when the subjective intention force is large, the stress direction of the pen will interact with the external and internal L forces around the trajectory of the Bank of China, which will make the pen change up and down and left and right, forming the virtual and real changes of the up and down and left and right forces of the line, resulting in different line expressions and essence. Extension and L's brushwork have realized the personalized development of strokes from yin-yang state to paranoid corner, which is the premise of calligraphy as an art. Key words: extension, the writing power of internal L changes to Yin and Yang, and Yin and Yang change. Discussion on Internal L and External Extension by Calligraphers in Past Dynasties: Internal L and External Extension are a pair of concepts that we can't avoid in the process of calligraphy learning, but the deep reasoning has been fruitless. The first person to talk about the characteristics of "internal L" and "external extension" should be Wang Xizhi himself. Calligraphy theory, Wang Xizhi, recorded in Sheng Yuan Mingxi's Textual Research on Fa Shu, Volume III, Calligraphy, said: "All paintings are suspended, which makes them open and natural. The grass is bold and unrestrained, frowning on the wrist, hanging the tube and gathering the front, and unfolding softly. The left is the extension, and the right is the inside, even rolling up, breathing inside, and hiding the front. " In The Analects of Confucius by Wang Xizhi, "the left is an extension, and the right is an extension", which vaguely tells that the inner L and the extension are related to a certain direction, while "every painting hangs" tells the characteristics that the ancient pen tube is perpendicular to the paper. Yuan Yuan's Compendium of Calligraphy? On the general calligrapher, the cloud says: "The right army converges to the L in the pen, so it is strict and has statutes;" The big order expanded the outline with a pen, so it was scattered and colorful. " Mao Yuan only mentioned the difference and opposition between the two strokes. Feng Fang's Ming Jue Shu said: "The right army uses an L in the pen, which is mostly positive, so the law is strict. God is committed to the extension of the pen, which is mostly horizontal, so the spirit is scattered." Just like Mao Yuan, it belongs to description, and its positive and horizontal expressions are also deviated, because there is no substantive relationship between internal L and external extension, positive and horizontal. Qing Kang Youwei's Guangyi Ship? "Twenty-one Inscription Method" says: "The beauty of calligraphy lies in strokes. It is very important to do everything in the countryside ... just use a pen and a pen; Pen contains, pen extends; Those who tolerate it are vigorous, and those who expand it are powerful; It can be seen that Kang Youwei's theory of extension deviates from Feng Fang's theory of extension, because extension has no substantive relationship with pen writing. In modern times, Shen thought that "the inner L is the book of strength, and the outer L is the book of strength", which is similar to Kang Youwei's view, that is, only describing the appearance of the inner L and the outer L lines, without touching the essence of brushwork. According to this, it can be considered that predecessors attached great importance to internal L and external extension, but they have never been able to explain the mystery of internal L and external extension. Throughout history, the strokes used to analyze diagrams in technical articles of calligraphy textbooks are all the same gesture-Chinese character gesture. Liu Gongquan and Zhao Meng should be, but what about Yan Zhenqing? Also, what about Wang Xizhi's? What's more, this is obviously ridiculous. Imagine how we can write different styles with the same brushwork. The author now analyzes L and Tuo methods from the perspective of traditional Yin-Yang syndrome differentiation combined with physical and mechanical principles. (Because the method of Bank of China is well known, it is omitted. ) Chapter 1 Extension Principles, China Bank and Neihua 1. Extension and L are two elements that analyze the force direction of brush strokes. Stretching and l essentially refer to two opposing forces in the process of paddling. These two forces are the result of the reverse development on the basis of the Bank of China, and they are the two most basic elements of brushwork. The two forces, Tuo and L, are connected by the principle of centripetal force and centrifugal force in physical mechanics. When writing, they generally behave like people walking in alleys, or walking against the left wall, or walking against the right wall, or walking slightly in the middle. When writing, brush strokes are influenced by both objective intention and subjective intention. When the objective intention force is dominant, the brush stroke force basically moves to the center of the line, resulting in the effect of "force in painting" On the contrary, when the subjective intention force plays a great role, the stress direction of brush strokes is ... > >
Question 10: What does it mean to do car sales outreach? It should be outreach, such as park auto show and community auto show, with small scale and flexible form.