書法藝術的歷史與審美

　　The History and Aesthetics of Calligraphy Art

　　一、樹立正確的臨摹觀，要注意以下幾方面問題

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

　　1．臨摹是手段不是目的。臨摹古法書，目的是掌握書法基本規范，而不是復制、重復古人。因此，臨摹必然要有一個進入與退出的過程，不能一味臨古，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．臨摹法帖，在探求筆法，而不是刻畫外形。臨摹的目的是弄清其筆法規律、所致之由，由個別而掌握一般，而不是機械描摹其形狀。運筆方法不對，即使一點一畫都描得十分逼真，那也無益于對書法筆法、規律的掌握。

　　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．臨摹以掌握筆法為目的，不以外形描摹為目的，決不意味著臨摹者可以任意發揮。相反，為了使臨書者能準確掌握筆法技巧，建立在正確方法基礎上的“形似”也是十分必要的。只有在“正確方法”加“形神畢肖”兩者統一的前提下，臨摹者才可能真正深入筆法的“深海區”，探觸到筆法的細微處，由此也才可能真正掌握一種書法范本或÷個書家在筆法開拓上的**勝處。因此，臨摹反對不講方法的亦步亦趨．，但堅持正確方法前提下的形神畢肖。

　　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、書法與文學的關系

　　2、 The Relationship between Calligraphy and Literature

　　書法和文學，都是人生激情的吐露，兩種藝術雖屬不同藝術類別，但在精神與表現上，卻息息相通。書情的暢達，可以推動文思的妙響；文思的高逸，也可帶動書意的高翔。

　　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、隱含的書法“生態形式”及其結構

　　3、 The implied ecological form and structure of calligraphy

　　書法藝術的文化生態形式由以下幾個層次組成：(1)文字語義層；(2)筆墨外形層(點畫儀態、結構樣式)；(3)墨象層(筋骨肉血、精神氣質)；(4)歷史文化層(性情道德倫理)。

　　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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