我最初学的是《老子》(乙本)和《周易》,这两种帛书应该出自一人之手,极尽稳妥之能事,所有的变化都框入方方整整的字形中,如果没有一些长撇长捺笔画,绝对是状如算子了。这类字易得其形,来自篆书的基因让这些字在安静中透着古雅之气,但在创作中却极易写得直白而古意全无,经过一段时间的研习,我放弃了。然后我开始试写《老子》(甲本),这种字法篆隶交融,姿态欹侧错落,笔法肥钝圆拙,而难点在于字法 My first study was “Lao Tzu” (Book B) and “Book of Changes”. Both silk books should come from one hand and be extremely safe. All the changes should be framed in a square shape. If not, Long write-off strokes, absolutely like the operator like a. These words are readily available, and the letters from the seal script make these words quaint and quaint in their quietness, but they are extremely easy to write straightforwardly and completely in ancient times. After a period of study, I gave up . Then I began to test and write “Lao Tzu” (A), this lettering Zhuanli blend, posture 欹 side patchwork, style blunt, and the difficulty is that the lettering