1、 To establish a correct concept of copying, we should pay attention to the following aspects

.臨摹是手段不是目的。臨摹古法書，目的是掌握書法基本規(guī)范，而不是復(fù)制、重復(fù)古人。因此，臨摹必然要有一個(gè)進(jìn)入與退出的過程，不能一味臨古，食古不化。

Copying is a means, not an end. The purpose of copying ancient Dharma script is to master the basic norms of calligraphy, not to copy and repeat the ancients. Therefore, copying must have a process of entry and exit. We can't blindly face the ancient and eat the ancient.

.臨摹法帖，在探求筆法，而不是刻畫外形。臨摹的目的是弄清其筆法規(guī)律、所致之由，由個(gè)別而掌握一般，而不是機(jī)械描摹其形狀。運(yùn)筆方法不對(duì)，即使一點(diǎn)一畫都描得十分逼真，那也無益于對(duì)書法筆法、規(guī)律的掌握。

Copying calligraphy is to explore the technique of writing, not to depict the shape. The purpose of copying is to find out the rules and causes of its writing, and grasp the general from individual, rather than mechanically tracing its shape. The method of using the brush is wrong. Even if the strokes are very lifelike, it is not conducive to the mastery of calligraphy techniques and rules.

.臨摹以掌握筆法為目的，不以外形描摹為目的，決不意味著臨摹者可以任意發(fā)揮。相反，為了使臨書者能準(zhǔn)確掌握筆法技巧，建立在正確方法基礎(chǔ)上的“形似”也是十分必要的。只有在“正確方法”加“形神畢肖”兩者統(tǒng)一的前提下，臨摹者才可能深入筆法的“深海區(qū)”，探觸到筆法的細(xì)微處，由此也才可能掌握一種書法范本或÷個(gè)書家在筆法開拓上的優(yōu)勝處。因此，臨摹反對(duì)不講方法的亦步亦趨。，但堅(jiān)持正確方法前提下的形神畢肖。

The purpose of copying is to master the technique of writing, not to describe the appearance, which in no way means that the copyist can play at will. On the contrary, in order to enable the temporary readers to accurately master the writing skills, the "shape similarity" based on the correct method is also very necessary. Only on the premise of the unity of "correct method" and "form and spirit Bixiao", the imitator can go deep into the "deep-sea area" of the stroke and explore the nuances of the stroke, so as to master a calligraphy model or the advantages of a calligrapher in the development of the stroke. Therefore, copying opposes the following trend of not talking about methods., But adhere to the correct method under the premise of form and spirit bishop.

二、書法與文學(xué)的關(guān)系

2、 The relationship between calligraphy and Literature

書法和文學(xué)，都是人生激情的吐露，兩種藝術(shù)雖屬不同藝術(shù)類別，但在精神與表現(xiàn)上，卻息息相通。書情的暢達(dá)，可以推動(dòng)文思的妙響；文思的高逸，也可帶動(dòng)書意的高翔。

Calligraphy and literature are the expression of life's passion. Although the two arts belong to different art categories, they are closely linked in spirit and expression. The fluency of book feeling can promote the wonderful sound of literary thought; The elegance of literary thought can also drive the high flying of book meaning.

三、隱含的書法“形式”及其結(jié)構(gòu)

3、 Implied calligraphy "form" and its structure

書法藝術(shù)的文化形式由以下幾個(gè)層次組成：（1）文字語義層；（2）筆墨外形層（點(diǎn)畫儀態(tài)、結(jié)構(gòu)樣式）；（3）墨象層（筋骨肉血、精神氣質(zhì)）；（4）歷史文化層（性情道德倫理）。

The cultural form of calligraphy consists of the following levels: (1) the semantic level of characters; (2) Brush and ink appearance layer (dotted appearance and structural style); (3) Ink image layer (muscles and bones, flesh and blood, spiritual temperament); (4) Historical and cultural layer (temperament, morality and Ethics).

文字語義層：嚴(yán)格說來這一層次是非書法的，支持它的是文字的“原始語言功能”——傳達(dá)思想，表達(dá)意志。

Semantic level of characters: strictly speaking, this level is non calligraphic. What supports it is the "original language function" of characters - to convey ideas and express will.

但在書法文人化過程中，文字的內(nèi)容，已成為代表書法藝術(shù)主體的“文人書法”的不可分割的一部分；從創(chuàng)作角度說，書家“露頂據(jù)胡床”（李頎贈(zèng)張旭詩）、“須臾掃盡數(shù)千張”（李白贈(zèng)懷素詩），是因?yàn)橛懈卸l(fā)；從欣賞者角度說，擁有“閱讀快樂”的書法欣賞與沒有閱讀快樂的書法欣賞（如張懷瓘所說“惟觀神采”），其審美沖擊強(qiáng)度與感受是有差異的。

However, in the process of literati calligraphy, the content of characters has become an integral part of "literati calligraphy" representing the main body of calligraphy art; From the perspective of creation, the calligrapher "exposed the top according to the Hu bed" (Li Qi presented Zhang Xu's Poetry) and "swept thousands of copies in a moment" (Li Bai presented Huai Su's Poetry) because of his feelings; From the perspective of admirers, there is a difference in the intensity and feeling of aesthetic impact between calligraphy appreciation with "happy reading" and calligraphy appreciation without happy reading (such as "only observing the spirit" as Zhang Huaixiang said).

按照傳統(tǒng)文化給書法藝術(shù)確定的整體定位——抒情、達(dá)性、、教化，語義層應(yīng)該是書法藝術(shù)構(gòu)成的一部分；缺少了它，書法藝術(shù)的完整性將受到傷害。因此，我們把“語義層”作為書法藝術(shù)形式的基礎(chǔ)層。

According to the overall orientation of Chinese traditional culture for calligraphy art - lyricism, expressiveness, and enlightenment, the semantic layer should be a part of calligraphy art; Without it, the integrity of calligraphy will be damaged. Therefore, we regard "semantic layer" as the basic layer of calligraphy art form.

“筆墨外形層”是“物質(zhì)”書法的開始。任何書法的形象都需以點(diǎn)畫線條來構(gòu)筑。不同的點(diǎn)畫形態(tài)，具有不同的形狀（外輪廓線）、質(zhì)地（筆意墨韻），而且每一個(gè)點(diǎn)畫都有其固定形式；漢字自身所具有的整體感和視覺心理反應(yīng)中的“完形意識(shí)”以及字義層的“辨讀吸引”，都賦予書法漢字以完整統(tǒng)一的“形體感”。這是一個(gè)裝載力量、性情、自然、倫理的黑色“書法外殼”。書法的“體”——字體、書體，就在這一層面劃開畛域。

"Pen and ink shape layer" is the beginning of "material" calligraphy. Any image of calligraphy needs to be constructed by dotted lines. Different stippling forms have different shapes (outer contour) and textures (brushstroke and ink rhyme), and each stippling has its fixed form; The sense of wholeness, the "Gestalt consciousness" in the visual psychological response and the "discrimination and reading attraction" in the meaning layer of Chinese characters give the calligraphy Chinese characters a complete and unified "sense of form". This is a black "calligraphy shell" loaded with strength, temperament, nature and ethics. The "body" of calligraphy, the font and the style of calligraphy, divides the field at this level.

“墨象層”是書法由“物質(zhì)”向“文化”、由“技”向“道”、由無我的“純客觀”之境向“物我交融”的有我之境轉(zhuǎn)化的過渡帶；它是筆墨外形層在欣賞者心靈中形成的一種綜合影象。

"Ink image layer" is the transition zone of calligraphy from "material" to "culture", from "technology" to "Tao", from "pure objective" without self to "blending of things and me"; It is a comprehensive image formed by the shape layer of pen and ink in the viewer's mind.

“象”為“形”之現(xiàn)，它是觀察主體對(duì)客觀對(duì)象的一種遠(yuǎn)距離、大空間、模糊化、整個(gè)精神綜合把握。在這一層次，筆形墨質(zhì)因?yàn)樾蕾p主體的主觀因素的介入，每一個(gè)“小細(xì)胞”在思維世界里都獲得了“活形式”的意義。書法的筆畫、線條，獲得了力量感——遒勁、凝重、秀美、古拙，等等；書法的造型，或端莊，或典雅，或奇逸，或奔放，也獲得了某種虛幻的“生命”。

"Image" is the appearance of "form". It is a long-distance, large space, fuzziness and comprehensive grasp of the whole spirit of the observation subject to the objective object. At this level, because of the subjective factors of the appreciation subject, each "small cell" obtains the meaning of "living form" in the thinking world. The strokes and lines of calligraphy have gained a sense of strength - strong, dignified, beautiful, ancient and clumsy, etc; The shape of calligraphy, or dignified, or elegant, or strange, or unrestrained, has also obtained some illusory "life".

書法的、漢字，在這個(gè)世界里，好像每一個(gè)都有獨(dú)立完整的生命，點(diǎn)畫波撇，宛若人的手足，一舉手一投足，顧盼有情。這是一個(gè)有待欣賞主體實(shí)施“再創(chuàng)造”的物質(zhì)構(gòu)架，用西方現(xiàn)代美學(xué)“接受美學(xué)”學(xué)派的術(shù)語來說，它是一個(gè)有待讀者把自己投進(jìn)去的“召喚結(jié)構(gòu)”。

Calligraphy, Chinese characters, in this world, it seems that each has an independent and complete life. The stippling wave skim is like people's hands and feet, raising their hands and throwing their feet, looking forward to love. This is a material framework for the appreciation subject to implement "re creation". In terms of the "reception aesthetics" School of western modern aesthetics, it is a "calling structure" for the readers to throw themselves into.

“歷史文化層”是書法藝術(shù)形式的高層，它突破了書法筆墨形式的桎梏，以書法形式與大干世界運(yùn)動(dòng)形式的“形式同構(gòu)”為突破管道，通過書法特殊創(chuàng)作、鑒賞支化心理認(rèn)知模式的培養(yǎng)，把大量的非書法內(nèi)容灌注在書法筆畫線條的黑色“隧道”中。

"Historical and cultural layer" is the high-level of calligraphy art form. It breaks through the shackles of calligraphy pen and ink form, takes the "form isomorphism" between calligraphy form and the form of the big world movement as the breakthrough channel, and pours a large amount of non calligraphy content into the black "tunnel" of calligraphy stroke lines through the cultivation of the psychological cognitive model of calligraphy special creation and appreciation.

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