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传统与现代 ——写在前面 在世界艺术之林，惟中国书法最能表现东方文明的独特性，惟中国书法最能表现中国文人的精神世界，惟中国书法最能表现出中国文化的博大精深。可以这么说，书法是中国人的“注册商标”，她是人类文化宝库中一颗璀璨的明珠。 几千年前，我们的祖先创造了世界上最古老的文字。几千年来，这种表意文字又为我们中华民族保存了无比丰富的文化遗产。我们的文明从未间断过，这在世界文明发展史中是罕见的，汉字作为交流思想、社会交际的工具，广泛应用于中华各民族之间，她为民族文明的发展起了巨大的推动作用。汉字从图形、符号到创造、定型，由古文、甲骨、大篆到小篆，由篆而隶、楷、行、草，书写应用逐渐完备。汉字在书写过程中，又不断融入我们祖先无穷的智慧和创造，逐渐形成了世界文字中唯一的、可以独立门类的书写艺术——书法。 作为一门发展了几千年的独立的艺术，书法具有鲜明的艺术特征。方块汉字书写讲究点线搭配的变化，这本身就是这种艺术的造型基础。又通过中国独有的书写工具——文房四宝淋漓尽致的表现，书法显得更加光彩夺目。她起于点画用 笔，系于单字结构，成于整幅章法，美于风神气韵；点画之间，法度森严而又活泼自然、变化多端；墨色之间，黑白分明而又枯湿浓淡、五光十色；整幅之间，错落有致而又杂乱无章、粗头乱服：似乎平淡无奇，却又耐人寻味，甚至欲罢不能，让人如醉如痴；似乎点画狼籍，却又睿智无穷，甚而惊世骇俗，令你拍案叫绝——书法同古老的东方哲学、文学以及绘画、篆刻、建筑、雕塑等艺术息息相关，构成了中国文化的一道独特景观。 在长期的书写过程中，书法形成了自己一整套艺术规律。人们早就在书写发现了这种美。东汉时，文学家杨雄就说“书，心画也”，稍后的蔡邕（133-192）更从哲学的高度申述了书法艺术的崇高性，提出“书者，散也”的理论。“一画之间，变起伏于峰杪；一点之内，殊衄挫于豪芒”（唐.孙过庭《书谱》）。书法更倾向于表现主观精神，古往今来多少文人骚客都喜欢寄情于毫末笔端，将自己的心血和智慧倾注于书法艺术之中，同时也造就了无数的书法艺术家。那些灿若群星的知名的或不知名的书法家又为书法艺术注入了无穷的生命力，代代相传，推陈出新，汇成了我国浩如烟海的书法艺术宝库。书法是我们中华民族的瑰宝，中华民族的骄傲。 为了让更多的中国人认识中国人的书法艺术，为了引起更多人的共鸣，我们从1999年11月将第一个页面上传到免费个人空间开始，一步一步走到今天，慢慢壮大充实，终于在互联网上开辟了这个永不落幕的书法博物馆。我们有责任、有必要让更多的人了解我们自己的书法艺术。 资料是不断积累的，我们需要浏阅大量资料,但时间、精力有限，不可能做得面面俱到，目前只能推介下列部分内容，一些地方还多多少少的引用了相关网站的资料，一般我们会在页面相关位置注明出处的，在此，我们谨表诚挚谢意，如果你觉得侵犯了你的权益，请与本站联系，我们会立即删除。
附：本站参考资料来源 《中国名家法书》丛书 许礼平 苏士澍主编（文物出版社）
《刘有林：一个书法教师的“资源共享梦”》（《中国艺术报》2014年12月19日。作者：秦兰珺、王健）
Introduction Chinese calligraphy (Brush calligraphy) is an art unique to Asian cultures. Shu (calligraphy), Hua (painting), Qin (a string musical instrument), and Qi (a strategic boardgame) are the four basic skills and disciplines of the Chinese literati. Regarded as the most abstract and sublime form of art in Chinese culture, "Shu Fa" (calligraphy) is often thought to be most revealing of one's personality. During the imperial era, calligraphy was used as an important criterion for selection of executives to the Imperial court. Unlike other visual art techniques, all calligraphy strokes are permanent and incorrigible, demanding careful planning and confident execution. Such are the skills required for an administrator / executive. While one has to conform to the defined structure of words, the expression can be extremely creative. To exercise humanistic imagination and touch under the faceless laws and regulations is also a virtue well appreciated. By controlling the concentration of ink, the thickness and adsorptivity of the paper, and the flexibility of the brush, the artist is free to produce an infinite variety of styles and forms. In contrast to western calligraphy, diffusing ink blots and dry brush strokes are viewed as a natural impromptu expression rather than a fault. While western calligraphy often pursue font-like uniformity, homogeneity of characters in one size is only a craft. To the artist, calligraphy is a mental exercise that coordinates the mind and the body to choose the best styling in expressing the content of the passage. It is a most relaxing yet highly disciplined exercise indeed for one's physical and spiritual well being. Historically, many calligraphy artists were well-known for their longevity. Brush calligraphy is not only loved and practiced by Chinese. Koreans and Japanese equally adore calligraphy as an important treasure of their heritage. Many Japanese schools still have the tradition of having a student contest of writing big characters during beginning of a new school year. A biannual gathering commemorating the Lanting Xu by Wang Xi Zhi (The most famous Chinese calligrapher in Jin dynasty, ) is said to be held ceremonially in Japan. There is a national award of Wang Xi Zhi prize for the best calligraphy artist. Not too long ago, Korean government officials were required to excel in calligraphy. The office of Okinawa governor still displays a large screen of Chinese calligraphy as a dominating decor. In the West, Picasso and Matisse are two artists who openly declared the influence by Chinese calligraphy on their works.
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