一件书法作品,欣赏者首先看到了形,书法语言的明晰就是以形率先出现,一触目可知篆隶或行草,这也是我们欣赏的一个先决条件。如果不立文字,没有形,它的明晰地无从体现,我们的欣赏缺乏有形的对象,也就中断了深人把玩的可能。古代书法史上的书家远远地多于我们目前可以评说的数量,其原因就是有些有名无实的书法家,他们有形的作品在漫长的时光里不知所终,无法给人一种感性的认识,这些书法家最终因为作品的无形可现,逐渐淡出我们的视线。宗白华认为:汉字可以写出空间的形象与彩色。前苏联的伊斯特林也认为,中国殷代古老的象形文字具有图示性、线条性的形式。我们正是根据这些形的推进、演变、观察到了当时书写者达到的程度以及在 A calligraphy, the viewer first saw the shape, the clarity of the calligraphic language is the first to appear in form, one can see Zhuanli or line of grass, which is a precondition we appreciate. If you do not set the text, there is no shape, it clearly can not reflect, our appreciation of the lack of physical objects, it interrupted the possibility of deep play. The reason why the number of calligraphers in the history of ancient calligraphy far exceeds what we can comment on at present is that there are some nominal calligraphers whose tangible work is unimaginable for a long time and can not give people a sense of perceptual understanding The calligrapher finally faded out of our sight because of the invisible appearance of the work. Zong Baihua that: Chinese characters can write the space of the image and color. Istlling in the former Soviet Union also believed that the ancient hieroglyphs of the Yin Dynasty in China had an illustrative and linear form. It is on the basis of these forms of advancement that we have evolved to observe the extent to which writers were reached at that time,