书法之所以成为一门艺术,重要的不在其外在形式如何表现,而在其精神内涵是否动人。而精神内涵,是一个非常模糊的概念。当批评家面对一件具体的书法作品时,能供他阐释的空间非常有限,因为他无法准确探知这件作品的真正意味。这就不得不借助传统的“知人论世”的方法,首先对具体书法作品的产生背景和创作动因进行一番摸底考证。而人,又是千变万化、异常复杂的多面体。真正能落实到书法层面能对书法创作产生影响的,可能只 The reason why calligraphy becomes an art, what is important is not how its external form behaves, but whether its spiritual connotation is touching or not. The spiritual connotation, is a very vague concept. When the critic faces a concrete calligraphy, there is very little room for him to interpret it because he can not accurately ascertain the true meaning of the work. This has to resort to the traditional “know the man on the world ” approach, first of all on the specific calligraphy work background and creative motivation for some research textual research. And people, but also ever-changing, exceptionally complex polyhedron. Can really implement the calligraphy level can have an impact on calligraphy, may only