中国书法发展到21世纪的今天,虽承载传统文化之精博,然萎缩日甚,仅仅成为小艺。其力不及科技,势不如绘画,而究其堂奥,依旧深邃莫测。虽然大众文化的现实发展遮蔽了许多文化上的问题,可是作为艺术的书法在书法成为艺术的时代中却呈现出识者寥寥的窘境。吕章申和当今千千万万的书法家一样,不仅深爱书法之道,而且孜孜以求地努力了数十年,其书法以“精而造疏,简而意足”的特点表现出与时流迥异的独特个性。他的独特之处一是表现出个性,二是表现出非专业化的倾向。在他的个性特点中,所书既不平正,也不险绝;既不风流,也不为法度所囿,一种朴实、疏朗、散淡、秀润的风格。他的朴实在于没有花拳绣腿,没有表现出正草隶篆的全能,而仅以行草面目示人。他的疏朗表现在结体的布局内,散淡反映在整体的意境里,而秀润则深藏在内在的气韵中。 The development of Chinese calligraphy to the 21st century today, although bearing the essence of traditional culture, has been shrinking, becoming merely a minor art. Its power and technology, is better than painting, and study its hall of fame, still unpredictable. Although the development of mass culture has covered many cultural problems, the calligraphy as art presents only a handful of intellectuals in the era in which calligraphy became art. Like many thousands of calligraphers in the world today, Lu Zhangshen not only loved calligraphy but also diligently worked hard for decades. His calligraphic features are quite different from those of the current Unique personality. One of his unique features is to show individuality, the second is to show the tendency of non-professional. In his personality traits, the book is neither flat nor dangerous; neither romantic nor the law, a simple, informal, scattered, show Run style. His simple is that there is no flower embroidery and embroidery legs, did not show the grass is Almighty Zhuanzhuan Almighty, but only to show off the grass. His graceful performance in the layout of the body, scattered light reflected in the overall mood, and Hideyuki is hidden in the inherent charm.