不论谈书法的艺术还是谈书法的发展,首先要认识书法在当代社会的困境,不能简单地固守和延用书法在过去存在发展的因果关系去思考书法艺术在今天的存在和发展。围绕这个要点,本文首先提出不要把“书法”简单地当成“造型艺术”去观察和对待。其次是联系当代美术学院教学中有关设计学科的平面构成,以及汉字图形结构的特征,说明汉字通过毛笔的书写很早就发展成一种很纯粹的视觉化的审美样式,而且先于中国画的成熟。然后提出书法在几千年的存在和发展当中上行下效,实际上更多地泛化成一种文化形态的意义。最后,如果能认真分析书法在过去存在和发展的因果关系,就知道书法在今天的存在和发展是另一种因结另一种果,那么,困境与可能同在。 Regardless of the art of calligraphy or the development of calligraphy, we must first understand the plight of calligraphy in contemporary society, we can not simply stick to and use the causal relationship between the development of calligraphy in the past to think about the existence and development of calligraphy in today. Around this point, this article first proposed not to “calligraphy” simply as “plastic arts” to observe and treat. Second, it relates to the plane composition of the design disciplines in the teaching of contemporary art academies and the characteristics of the graphic structure of Chinese characters. It shows that the writing of Chinese characters through brush writing developed very purely a visual aesthetic style before maturity of Chinese painting. Calligraphy was then proposed to be effective in its existence and development for thousands of years, and in fact it became more generalized as a cultural form. Finally, if one can carefully analyze the causal relationship between the past and the development of calligraphy in the past, we can see that the existence and development of calligraphy today are another cause. So the difficulties and probabilities lie in the same place.