Potential? It is a very important concept in China's classical calligraphy theory, which can range from the simplest stroke to the font structure and potential pulse correlation of each word, or the image of Shen Feng in a certain style of calligraphy, the style and characteristics of a calligrapher and so on? Potential? This concept to describe.

One. The same font, the same words, the same stippling, different people, their strokes are different, and the written stippling forms are different.

1, Mi Fei's He Zhu Tie? People? Words? Hey? Brush potential. Inherit the painting, write from a distance, and hand it over, right? Turn? Pen, down to the right? Okay？ Natural entry? Mention? Pen, done.

2. Su Shi's poems and the postscript of Chen Gong, the official department? People? Words? Hey? Brush potential. Painting, in the air? Turn? Pen, hand with sketch, lower right? Okay？ Into, left? Turn? Pen, left foot? News? Pen? Twist? Bon voyage with the pen? Mention? Get up and finish.

3. Cai Xiang's poems come from books? People? Words? Hey? Brush potential. Painting, in the air? Turn? Pen, hand in hand sketching, left? Turn? Pen, down to the right? Okay？ Okay? News? Pen, right? Turn? Pen? Mention? Get up, don't show your horns. Done.

2. The same font, the same words, the same stippling, the same person, their strokes are different, and the stippling forms are different.

Rainbow Xizhi's? What? Chinese characters have different strokes (stroke combinations), different shapes and various postures. Limited brushwork, unlimited brushwork, free combination of brushwork and ever-changing brushwork provide infinite space for calligraphy creation to form different faces.

In the practice of calligraphy creation, because everyone's physiological function, nature and taste are different, the choice of strokes is bound to be different. With the progress of time, when writing Chinese characters, they gradually formed their own habit of using strokes and formed their own relatively stable strokes.