卡纸写小品
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怎样避免运笔的偃卧
徐渭《玄抄类摘序》：“手之运笔是形，书之点画是影，故手有惊蛇入草之形，而后书有惊蛇入草之影；手有飞鸟出林之形，而后书有百鸟出林之影，其它蛇斗，舞剑，莫不皆然。”点画形式的区别归根到底，取决于运笔方式的不同。
书写时，笔锋受压后打开，一进入行笔，就会偏向与运动方向相反的的一边，笔肚接触纸面，按得越重，笔肚接触纸面越多，笔锋的偏侧也就越大，这样，有很大部分作用力会因为笔锋的偏侧而转移为与纸面平行的力量，不能垂直作用于纸面，写不出力透纸背入木三分的点画。为了追求点画的力感，古代书家强调行笔过程一定要避免笔锋过分倾侧在与笔画运动相反的一边，即所谓的“偃卧。”
避免的方法有两种：
董其昌：“发笔处便要提得起笔，不使其自偃，乃是千古不传之语。”意思是提起笔，让笔尖在纸上行走，以此尽可能地保证垂直，保证点画的清挺遒劲，这是帖学的行笔方法。包世臣：“盖笔向左迤后稍偃，是笔尖着纸即逆，而锋不得不平铺纸上矣。石工镌字，画右行者，其錞必向左，验而实之，则纸犹石也。”锋既着纸即就要将笔管朝笔画运行的相反方向倾斜，抬起笔肚，让笔尖受压后强力反弹，紧咬纸面逆行，写出苍茫渾厚的点画，这是碑学的行笔方法。”帖学和碑学的行笔方法都避免了偃卧的毛病，但是方法不同，效果异。 老師大作頻出 行草觉 发表于 2019-10-30 22:30
老師大作頻出
谢谢！一直在寻找自己。
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