关于创作和理论的关系,我想可以从两个方面来谈。一方面,有了一点创作实践的人,并不见得就懂得艺术的真谛。一方面,有了理论,也不见得能直接解决创作当中的问题,还需要经过实践。理论有它自己的体系和表达方式,并不等同于实践;理论体系不是围绕着每一个具体的实践问题建立起来的,理论并非实践的综合(总和)。有一些专家、著作家,他本身并不是书法创作的实践家,但是他所发表的真知灼见,是一些自翊为有实践经验的人达不到的。宗白华的《中国书法里的美学思想》一文,即很有见地。林语堂的《中国人》(即《吾国与吾民》)里面也专门讲了书法的问题。他们既研究西方文化,也研究中国的文化,而且在中 On the relationship between creation and theory, I think we can talk about two aspects. On the one hand, people who have a bit of creative practice do not necessarily understand the true meaning of art. On the one hand, with the theory, it is not necessary to directly solve the problems in the creation, but also need to go through practice. Theory has its own system and way of expression, which is not the same as practice. The theoretical system is not built around every concrete practical problem. Theory is not a comprehensive (total) of practice. There are some experts and writers who are not themselves practitioners of calligraphy, but the insights they make are not reached by those who have practical experience. Zong Baihua’s “Aesthetic Thought in Chinese Calligraphy” is very insightful. Lin Yutang’s “Chinese” (ie “My Country and My People”) also specifically talked about calligraphy. They study not only Western culture, but also Chinese culture, and are still here