書法藝術(shù)的文化生態(tài)形式由以下幾個(gè)層次組成：(1)文字語(yǔ)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 ecological form of calligraphy art consists of the following levels: (1) text semantic level; (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(yǔ)義層：嚴(yán)格說(shuō)來(lái)這一層次是非書法的，支持它的是文字的“原始語(yǔ)言功能”——傳達(dá)思想，表達(dá)意志。但在書法文人化過(guò)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(shuō)，書家“露頂據(jù)胡床”、“須臾掃盡數(shù)千張”，是因?yàn)橛懈卸l(fā)；從欣賞者角度說(shuō)，擁有“閱讀快樂(lè)”的書法欣賞與沒(méi)有閱讀快樂(lè)的書法欣賞(如張懷瓘所說(shuō)“惟觀神采”)，其審美沖擊強(qiáng)度與感受深度是有差異的。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、修身、教化，語(yǔ)義層應(yīng)該是書法藝術(shù)有機(jī)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(yǔ)義層”作為書法藝術(shù)生態(tài)形式的基礎(chǔ)層。
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. 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 "reveals the top according to the Hu bed" and "sweeps thousands of pieces in a moment" because of his feelings; From the perspective of admirers, there is a difference in the intensity of aesthetic impact and depth of feeling between calligraphy appreciation with "happy reading" and calligraphy appreciation without happy reading (as Zhang Huaixiang said, "only observing the spirit"). According to the overall orientation of Chinese traditional culture for calligraphy art - lyricism, expressiveness, self-cultivation and education, the semantic layer should be an organic part of calligraphy art; Without it, the integrity of calligraphy will be damaged. Therefore, we regard the "semantic layer" as the basic layer of the ecological form of calligraphy art.
“筆墨外形層”是“物質(zhì)”書法的開(kāi)始。任何書法的形象都需以點(diǎn)畫線條來(lái)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(jué)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(kāi)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(wú)我的“純客觀”之境向“物我交融”的有我之境轉(zhuǎn)化的過(guò)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。“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”。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(yǔ)來(lái)說(shuō)，它是一個(gè)有待讀者把自己投進(jìn)去的“召喚結(jié)構(gòu)"。
"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. "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". 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)生態(tài)形式的層，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(guò)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。
The "historical and cultural layer" is the highest level of the ecological form of calligraphy art. It breaks through the shackles of the form of calligraphy, takes the "form isomorphism" between the form of calligraphy and the form of the big world movement as the breakthrough channel, and injects 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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