二十年前,笔者曾邀请几位同道,在《中国书法》杂志上做过关于方法论的专栏,并以《书法研究方法论》为题,系统地论述了个人的理解。~([1])今天回头再看,当时所关注的许多内容都不再是问题,研究方法、学术规范都已经被中青年学者熟练掌握,有些甚至发挥得相当出色。不过,方法的正确运用并不能保证学术的持续进步,如果长期的研究工作和成果只能代表“量”的增益,反倒应该引起我们的注意。宋人晁补之《鸡肋集》论书有“学书在法,而其妙在人”“妙处不在法”的见解,书法研究的道理与之相同,掌握方法只是初阶、是手段,而妙处在于谨慎而富于创意的学术思维,基础则来自健全的知识结构。 Twenty years ago, I invited a few colleagues to do a column on methodology in the “Chinese Calligraphy” magazine and systematically discussed personal understanding in the title of “Methodology of Calligraphy Research.” Looking back today, many of the issues of concern were no longer problems, and research methods and academic norms were well-known among young and middle-aged scholars and some of them even performed quite well. However, the correct application of the method does not guarantee the continuous improvement of academic research. If long-term research work and achievements can only represent the gains of “quantity”, we should pay more attention to it. The theory of calligraphic research is the same as that of Song Buchi’s “tasteless set” of books, which contains the principle of “learning from the book in law, but not in the law” , Is a means, and the beauty lies in cautious and creative academic thinking, based on a sound knowledge structure.