书法艺术的历史与审美

　　The History and Aesthetics of Calligraphy Art

　　一、树立正确的临摹观，要注意以下几方面问题

　　1、 To establish a correct perspective on copying, attention should be paid to the following issues

　　1．临摹是手段不是目的。临摹古法书，目的是掌握书法基本规范，而不是复制、重复古人。因此，临摹必然要有一个进入与退出的过程，不能一味临古，食古不化。

　　1. Copying is a means, not an end. The purpose of copying ancient Chinese calligraphy is to master the basic norms of calligraphy, rather than copying or repeating ancient people. Therefore, copying must have a process of entry and exit, and cannot blindly follow the past and remain unchanged.

　　2．临摹法帖，在探求笔法，而不是刻画外形。临摹的目的是弄清其笔法规律、所致之由，由个别而掌握一般，而不是机械描摹其形状。运笔方法不对，即使一点一画都描得十分逼真，那也无益于对书法笔法、规律的掌握。

　　2. Copying calligraphy focuses on exploring brushwork rather than depicting appearance. The purpose of copying is to understand the rules of its brushwork and the reasons behind it, and to grasp the general situation from an individual perspective, rather than mechanically tracing its shape. The brushstroke technique is incorrect, even if the strokes are drawn very realistically, it is not conducive to mastering the calligraphy strokes and rules.

　　3．临摹以掌握笔法为目的，不以外形描摹为目的，决不意味着临摹者可以任意发挥。相反，为了使临书者能准确掌握笔法技巧，建立在正确方法基础上的“形似”也是十分必要的。只有在“正确方法”加“形神毕肖”两者统一的前提下，临摹者才可能真正深入笔法的“深海区”，探触到笔法的细微处，由此也才可能真正掌握一种书法范本或÷个书家在笔法开拓上的**胜处。因此，临摹反对不讲方法的亦步亦趋．，但坚持正确方法前提下的形神毕肖。

　　3. The purpose of copying is to master the brushwork, not to describe the appearance, which does not mean that the imitator can freely play. On the contrary, in order for the calligraphers to accurately master the brushwork skills, it is also necessary to establish a "similarity in form" based on the correct method. Only under the premise of the unity of "correct method" and "form and spirit Bi Xiao", can the imitator truly delve into the "deep sea" of brushwork, explore the subtle aspects of brushwork, and thus truly master a calligraphy template or the strengths of a calligrapher in brushwork development. Therefore, copying opposes the trend of not emphasizing methods, but adheres to the premise of correct methods and the spirit and form of Bi Xiao.

　　二、书法与文学的关系

　　2、 The Relationship between Calligraphy and Literature

　　书法和文学，都是人生激情的吐露，两种艺术虽属不同艺术类别，但在精神与表现上，却息息相通。书情的畅达，可以推动文思的妙响；文思的高逸，也可带动书意的高翔。

　　Calligraphy and literature are both expressions of life's passion. Although they belong to different artistic categories, they are closely related in spirit and expression. The smooth flow of literary emotions can promote the wonderful sound of literary thought; The elegance of literary thought can also drive the soaring of literary meaning.

　　三、隐含的书法“生态形式”及其结构

　　3、 The implied ecological form and structure of calligraphy

　　书法艺术的文化生态形式由以下几个层次组成：(1)文字语义层；(2)笔墨外形层(点画仪态、结构样式)；(3)墨象层(筋骨肉血、精神气质)；(4)历史文化层(性情道德伦理)。

　　The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic layer of characters; (2) Pen and ink appearance layer (dot drawing posture, structural style); (3) Ink like layer (muscles, flesh, blood, spiritual temperament); (4) Historical and cultural level (moral and ethical aspects of character).

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