Huang Mengying and Ni NaIn the TV series " The Belle and the Police Dog," Ni Na's role was played by Huang Mengying. Ni Na was the language officer of the police force. She was proficient in nine foreign languages and was a language genius at the Exit-Entry Administration. With this talent, she was named one of the ten outstanding policewomen and became a member of the first female dog training team. She had a warm and wealthy family. She shared a dormitory with Li Shuhan and Tang Youyou, and the three of them supported each other as they grew up. Ni Na initially resisted joining the female police dog team. After experiencing the "malicious complaint" at the subway security check, the "fatal mistake" at the scene of the search, and the misunderstanding with her teammates, she gradually grew up. She overcame the challenge of training a large pouncing dog, repaired her relationship with Li Shuhan, and finally became an excellent dog trainer in her career. She was emotionally with Chen Xiuyuan. She had an upright personality, had her own principles and persistence, and was a little tsundere. At the same time, she also had the personality of a post-90s girl who refused to admit defeat. She was bright and beautiful, had good adaptability, and was willing to suffer.
While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!
Ni Yunlin Small Regular ScriptNi Yunlin's small regular script was mainly found in paintings, poems, postscripts, and letters. His works of small regular script handed down from generation to generation include "Jing Ji Xuan Poetry,""Self-written Poetry Manuscript Volume,""Zhi Shen Du Tao Poetry Letter," etc. The calligraphy and painting postscripts include "Autumn Forest Wild Prosperity Painting,""Water Bamboo Residence Painting,""Six Gentlemen Painting,""Jiangzhu Wind Forest Painting," Postscript "Su Shi's Dark Cloud Sky Post," Postscript "Zhang Yu Self-written Poetry Post,""Bamboo Painting," etc.
From Ni Yunlin's entire life, his writing style was beautiful and exquisite in his early years, gentle and simple in his middle age, and elegant in his later years. The academic community generally believed that his writing style gradually matured after the age of 60. Using 60 years old as the boundary, the research on Xiaojie could be divided into two periods: the early stage (early and middle stage) and the late stage (later stage).
Ni Yunlin's small regular script was elegant. His initial learning was influenced by the two kings, Zhong Yao, and Chu Suiliang. For example, the 39-year-old book "Autumn Forest Wild Xingtu" inscription and postscript, the early regular script was influenced by Chu Suiliang, the beginning of the pen more exposed edge into the pen, the horizontal painting is slender but the pen strength is strong, the twists and turns are obvious, the knot is relatively flat; The inscription and postscript of "Water Bamboo Residence Painting" written at the age of 43, the pen is ancient and clumsy, and there are many twists and turns, which have the meaning of official script. The knot is relatively flat, and the strokes of the characters are sparse and bright; The inscription and postscript of" Wu Zhu Xiu Shi Painting" written at the age of 51, the pen is casual and natural, the lines are thin and strong, paying attention to the change of ink color, the structure is scattered and the spirit is gathered, the relaxation is moderate; At the age of 58, the inscription and postscript of "Jiangzhu Fenglin Painting" presented certain characteristics.
The characteristics of Ni Yunlin's small regular script were generally expressed in the following three aspects: First, the strokes were very smooth, emphasizing the stretching of the main horizontal painting, the skimming painting and the pressing painting, and the font presented an elegant and agile feeling; Second, the strokes were fine and full of elasticity and tension, which required a lot of calligraphy and writing practice, which had a deep influence on Wen Zhengming's small regular script of the Wu School of Calligraphy in the Ming Dynasty; Third, the small regular script was full of variations. It did not use a rigid processing method and had an obvious writing rhythm. There would be a cursive writing technique in each word, and there would often be individual cursive handwriting in the entire text. It was hoped that it would appear to be written naturally. Most of the ink of the small regular script was inscribed with poems, postscripts, or self-written poems. Although the writing time was different, they all showed the state of "unintentional perfection", which was loved by later generations of small regular script students.
The Legend of Lin Yi is equally exciting, and everyone is welcome to read it!
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