“势”是一种抽象的精神载体,是意境的外化,它在物质载体——汉字点画的布局中可以表现,在审美主体的观照中得到再现,它贯穿于书法创作和欣赏的始终。书法之势,可分为点画之笔势、结字之体势、通篇之气势,而不同书体、不同书家的笔势、体势、气势都不相同。笔蛰,指的是运笔的方向,它是以笔法为基础,顺从着各个不同的点画的姿态而确位定向。上一笔与下一笔之间有一种转承关系.一方面表现为形状的衔接,另一方面表现为内在的贯通。即使形体上下衔接,其笔势造成的惯性使上下笔画之间也能形成气的顺畅。蔡好的“凡落笔结字,上皆覆下,下以承上, ”Potential “ is an abstract spiritual carrier, which is the externalization of artistic conception. It can be expressed in the material carrier - the layout of Chinese characters and is reproduced in the contemplation of aesthetic subjects. It runs through the creation and appreciation of calligraphy Always. Calligraphy trend, can be divided into dot painting gestures, knot character posture, throughout the momentum, and different books, different books, gestures, physical momentum, momentum are not the same. Pen sting, refers to the direction of the pen, it is based on the brushwork, obedience to the different point-and-click gestures and orientation. There is a kind of inheritance relationship between the last and the next, on the one hand it is the connection of the shape and on the other hand it manifests itself as an internal one. Even if the body is connected up and down, the inertia caused by the gesture makes the gas between the upper and lower strokes smooth. Cai is good, ”where every word, all covered, under to bear,