一我的书论,不能孤立地看,应与我的《文化符号学》、《中国文学史》、《中国文人阶层史论》等各种论述合观。孤立地看,与其他人论书法似乎也差别不大,实则整体意见迥异。因我是由整个中国文化的性质看书法,把文字、文学和文化合并起来看。而文字形成的艺术,正是文学与书法。文字、文学、书法之间有太多骨血联结之处,完全无法析分,只有贯通合观才能瞧出端倪。二“书法”一词即起于对真文的描述。我有一则《五岳真形图拓本跋》考证真形图,就是说明这种古书法观的:夫所谓真形图,山川盘纡之状、樵旅觅涂之藉而已,附会神奇,实与灵宝道之真文信仰 A theory of my book can not be seen in isolation. It should be in line with my various arguments such as “Cultural Semiotics”, “History of Chinese Literature” and “History of Chinese Literati”. In isolation, there seems to be little difference between the calligraphy and other people’s comments, but in reality the overall opinions are different. Because I read the calligraphy from the nature of the entire Chinese culture, I combine the words, literature and culture together. The art of writing is precisely literature and calligraphy. There is too much connection between the writing, literature and calligraphy, which can not be analyzed at all. Second, the word “calligraphy” starts with the description of the true text. I have a “Wu Yue true figure Tuopu Postscript” textual research is the truth, is to explain this ancient calligraphy: husband so-called truth map, the shape of mountains and rivers, Qiao brigade to find Tu borrow it, with magic, real and Spiritual treasure spiritual faith