行书偏旁的书写规律续谈
行书偏旁的书写规律续谈——以王铎行书为例
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——本论题以王铎行书范字为例，按照行书的因势生形、点入顺入带收、横的短化、竖的曲化、撇的直化、捺的点化、折的圆转化、钩的引带化、连笔（带连与合连）等笔画特点和仰俯、转侧、向背、大小、主次、疏密、透气、穿插、避让、高低、宽窄、变换等结构要领，通过与楷书写法的参照比较，研究行书偏旁的书写规律。
——《行书偏旁的书写规律》一文已经谈了“牵丝引带、连笔书写、笔顺变化、书写简化、笔形调整、笔画转换、位置改变、笔画省略、增加空白”等书写规律。
——本文从行书结构要领的角度分析，继续探讨行书偏旁的几个书写规律：仰俯对应、突出向势、同构更异。
一、仰俯对应
——在楷书中，雨字头、春字头、老字头、虎字头、气字头等的上下横笔右端都是上仰之势，呈平行状态。而在行书中，上面（或中间）短横往往向右下书写，为俯势，与下面的长横笔俯仰对应。这样，既便于上下笔画的连贯书写，又增加斜中取正的生动效果。口字底、日字底等也具有上仰下俯的势态。
二、突出向势
——月字底、口字底、日字底、耳字旁、耳字底、贝字旁、贝字底、車字旁、車字底等，因左边的撇、竖笔更宜顺应上面引带之势而书写为弧度外凸的竖笔，因此右边竖笔也对应地弧度外凸，两边竖笔呈相向之势。
三、同构更异
——行书中由两个相同的部件构成的偏旁，由于笔势方向、引带连绵等原因，比楷书更增加了变换书写的效果。如竹字头，左部的撇、横、点连写，收笔向右上引带送势；右部的撇、横、点也连写，点为撇势，向左下（并往往长化）引带；左右部件的势态相异程度很大。
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参见江西美术出版社《王铎行书要领精讲》《米芾行书要领精讲》《二王行书要领精讲》，2019。
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