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

.临摹是手段不是目的。临摹古法书，目的是掌握书法基本规范，而不是复制、重复古人。因此，临摹必然要有一个进入与退出的过程，不能一味临古，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.

.临摹法帖，在探求笔法，而不是刻画外形。临摹的目的是弄清其笔法规律、所致之由，由个别而掌握一般，而不是机械描摹其形状。运笔方法不对，即使一点一画都描得十分逼真，那也无益于对书法笔法、规律的掌握。

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.

.临摹以掌握笔法为目的，不以外形描摹为目的，决不意味着临摹者可以任意发挥。相反，为了使临书者能准确掌握笔法技巧，建立在正确方法基础上的“形似”也是十分必要的。只有在“正确方法”加“形神毕肖”两者统一的前提下，临摹者才可能深入笔法的“深海区”，探触到笔法的细微处，由此也才可能掌握一种书法范本或÷个书家在笔法开拓上的优胜处。因此，临摹反对不讲方法的亦步亦趋。，但坚持正确方法前提下的形神毕肖。

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、书法与文学的关系

2、 The relationship between calligraphy and Literature

书法和文学，都是人生激情的吐露，两种艺术虽属不同艺术类别，但在精神与表现上，却息息相通。书情的畅达，可以推动文思的妙响；文思的高逸，也可带动书意的高翔。

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、隐含的书法“形式”及其结构

3、 Implied calligraphy "form" and its structure

书法艺术的文化形式由以下几个层次组成：（1）文字语义层；（2）笔墨外形层（点画仪态、结构样式）；（3）墨象层（筋骨肉血、精神气质）；（4）历史文化层（性情道德伦理）。

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).

文字语义层：严格说来这一层次是非书法的，支持它的是文字的“原始语言功能”——传达思想，表达意志。

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.

但在书法文人化过程中，文字的内容，已成为代表书法艺术主体的“文人书法”的不可分割的一部分；从创作角度说，书家“露顶据胡床”（李颀赠张旭诗）、“须臾扫尽数千张”（李白赠怀素诗），是因为有感而发；从欣赏者角度说，拥有“阅读快乐”的书法欣赏与没有阅读快乐的书法欣赏（如张怀瓘所说“惟观神采”），其审美冲击强度与感受是有差异的。

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).

按照传统文化给书法艺术确定的整体定位——抒情、达性、、教化，语义层应该是书法艺术构成的一部分；缺少了它，书法艺术的完整性将受到伤害。因此，我们把“语义层”作为书法艺术形式的基础层。

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.

“笔墨外形层”是“物质”书法的开始。任何书法的形象都需以点画线条来构筑。不同的点画形态，具有不同的形状（外轮廓线）、质地（笔意墨韵），而且每一个点画都有其固定形式；汉字自身所具有的整体感和视觉心理反应中的“完形意识”以及字义层的“辨读吸引”，都赋予书法汉字以完整统一的“形体感”。这是一个装载力量、性情、自然、伦理的黑色“书法外壳”。书法的“体”——字体、书体，就在这一层面划开畛域。

"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.

“墨象层”是书法由“物质”向“文化”、由“技”向“道”、由无我的“纯客观”之境向“物我交融”的有我之境转化的过渡带；它是笔墨外形层在欣赏者心灵中形成的一种综合影象。

"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”为“形”之现，它是观察主体对客观对象的一种远距离、大空间、模糊化、整个精神综合把握。在这一层次，笔形墨质因为欣赏主体的主观因素的介入，每一个“小细胞”在思维世界里都获得了“活形式”的意义。书法的笔画、线条，获得了力量感——遒劲、凝重、秀美、古拙，等等；书法的造型，或端庄，或典雅，或奇逸，或奔放，也获得了某种虚幻的“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".

书法的、汉字，在这个世界里，好像每一个都有独立完整的生命，点画波撇，宛若人的手足，一举手一投足，顾盼有情。这是一个有待欣赏主体实施“再创造”的物质构架，用西方现代美学“接受美学”学派的术语来说，它是一个有待读者把自己投进去的“召唤结构”。

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.

“历史文化层”是书法艺术形式的高层，它突破了书法笔墨形式的桎梏，以书法形式与大干世界运动形式的“形式同构”为突破管道，通过书法特殊创作、鉴赏支化心理认知模式的培养，把大量的非书法内容灌注在书法笔画线条的黑色“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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