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30年过去了,书法的“现代化”显然是“流行文化”的真实表现。具体而言,一、只有模仿,并非新生命的诞生。其思维模式显然没有超越抽象绘画,甚至图案构成、平面设计的艺术范畴,没有超越日本的“汉字艺术”。只在“字”的本身寻找其“现代性”的可能,并非没有涉及的“书法”的本体,乃至书法传统所承载的文化信息。因此,“少数字派”成为“现代书法”的主流。二、忽视书法的理法——具体地说:和当代绘画一样,以制作刻意的能事消解“书写性”。如果“书法”
Thirty years later, the “modernization” of calligraphy is obviously the true manifestation of “pop culture.” Specifically, one, only imitation, not the birth of a new life. Its mode of thinking apparently did not surpass the abstract painting, and even the composition of the pattern, the art category of graphic design did not surpass the Japanese “Chinese Character Art ”. The possibility of searching for its “modernity” only in the “word” itself is not the non-related “calligraphy” ontology, or even the cultural information carried by the calligraphic tradition. Therefore, “minority figures ” become “modern calligraphy ” the mainstream. Second, ignoring the calligraphy of the law - specifically: and contemporary paintings, in order to create a deliberate ability to digestion “writing sex ”. If “calligraphy”