<h1>制作：玄法</h1><h1>书法：玄法</h1> 玄法<div><h3>草根山民</h3><h3>非名</h3><h3>非家</h3><h3>自幼受祖影响热爱书法</h3><h3>悟书法之根</h3><h3>苦修几十年道文化</h3><h3>悟水</h3><h3>悟墨</h3><h3>悟气</h3><h3>悟神</h3><h3>悟变化</h3><h3>创作书画</h3><h3><br></h3><h3><br></h3></div> <h1 style="text-align: center;">书法水墨用笔</h1> <h3>书法水墨运笔</h3><h3>书法水墨用笔，</h3><h3>笔含多水称湿笔，</h3><h3>笔含少水称渴笔。</h3><h3>湿<span style="line-height: 1.8;">笔、渴笔，</span></h3><h3><span style="line-height: 1.8;">作用。在变化。</span></h3><h3><span style="line-height: 1.8;">湿笔，</span></h3><h3><span style="line-height: 1.8;">湿笔不可成墨猪，</span></h3><h3><span style="line-height: 1.8;">渴笔不可成枯木。</span></h3><h3><span style="line-height: 1.8;">“润含春雨，干裂秋风”，</span></h3><h3><span style="line-height: 1.8;">非一时之功。</span></h3><h3><span style="line-height: 1.8;">运笔</span></h3><h3><span style="line-height: 1.8;">急慢、提按、顿挫、点垛、</span></h3><h3><br></h3><h3>笔之外现，均在墨法上争上游。</h3><h3>必须勤于练习，勇于探索</h3><h3>以发古人墨法之秘。</h3><h3>笔者，点也，线也，骨骼也；</h3><h3>墨者，肌体也，神采也。</h3><h3>笔求其刚，</h3><h3>求其柔，</h3><h3>求其拙，</h3><h3>求其纵，</h3><h3>墨求其苍，</h3><h3>求其老，</h3><h3>求其润，</h3><h3>求其腴，</h3><h3>随境参酌，</h3><h3>与笔相水乳。</h3><h3>见出轻重、</h3><h3>墨之丰神，<span style="line-height: 1.8;">精神气息</span></h3><h3>墨、浓、淡、湿，谓墨之五彩</h3><h3>不可不慎。</h3><h3>笔乃提纲挈领之总枢纽，</h3><h3>以通呼吸，</h3><h3>一若血脉之贯注全身。</h3><h3>意存笔先，</h3><h3>笔外意内，</h3><h3>书尽意在，</h3><h3>像尽神全，</h3><h3>非独有笔时须见生命，</h3><h3>有神机内蕴，</h3><h3>馀意不尽。</h3><h3>以有限示无限！</h3><h3><span style="line-height: 1.8;">展示出书法精气神韵</span></h3><h3><span style="line-height: 1.8;">让书法具有生命力！</span></h3><h3><span style="line-height: 1.8;">给美的空间享受</span></h3> <h3>水与墨</h3><h3>所产生变化</h3><h3>墨淡则伤神采，</h3><h3>绝浓必滞锋毫”，</h3><h3>用墨要簿至 “色平纸面”，</h3><h3>行笔则 “速以取劲”，</h3><h3>“起笔欲斗峻，住笔欲峭拔”，</h3><h3>“导之则泉注，顿之则山安”，</h3><h3>“势疾则涩”，“勒不得卧其笔，</h3><h3>须笔锋先行”</h3><h3><br></h3> <h3>书法的筋骨，</h3><h3>正是行笔中的力度问题。</h3><h3>笔力在书法中的重要性：“当其用笔，常欲使其透过纸背，此功成之极矣。真草用笔悉如画沙，则其道至矣。是乃其迹可久，自然齐古人矣。</h3><h3>没有筋骨书法</h3><h3>是没有生命力书写</h3> <h3>玄法感恩的心</h3><h3>谢谢朋友们</h3><h3>长期支持与认可</h3>