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“书法是一种最为抽象、而其观念形态也最为纯粹的艺术门类,它最集中地体现出了中国人的美学观与艺术观”(陈振濂《书法美学》)。书法既是一门独立的艺术门类,又是一门与文化、艺术、绘画、音乐、历史甚至哲学有关并可相互渗透的艺术,在中国几千年的文明史上占有独特的地位,在整个人类发展史上有着不可磨灭的作用。因此,书法是中华民族的骄傲,更是中华民族的象征。但是,作为流传了几千年的这一中华文化之瑰宝,西方世界是如何看待它的?外国人是如何认识它的?它在异域他邦的影响、地位和作用如何呢?正是带着这样一些饶有兴趣的疑问,从今年春天踏上澳大利亚国土的第一天起,我就开始试图寻找这些问题的答案。
"Calligraphy is the most abstract art category with the most pure and pure concept. It most closely reflects the Chinese concept of aesthetics and art (Chen Zhen-tai’s Calligraphy Aesthetics). Calligraphy is not only an independent art category, but also an art which is related to culture, art, painting, music, history and even philosophy and can penetrate each other. It occupies a unique position in the history of civilization in China for thousands of years. History has an indelible role. Therefore, calligraphy is the pride of the Chinese nation, but also a symbol of the Chinese nation. However, as a gem of this Chinese culture, which has been circulating for thousands of years, how does the Western world view it? How do foreigners know it? What influence, status and role does it have in other countries? With such intriguing questions as possible, I started to try to find the answers to these questions from the very first day I set foot on Australian soil this spring.