回视近三十年来的书法发展历程,我们不难看出,许多书法家成名之后纷纷陷入技法观和学养观相争持的泥潭中,不能自拔。手上功夫好的书法家轻视有文化的书家,有文化的书家小觑手上功夫好的书家,间或有技法和学养都过关的书家,也多是没有艺术思想的泛泛之辈。就在这两种观点激烈相互攻讦的时候,林涛先生经过冷静的思考,提出了技法、学养、书学思想三者相统一的新观点。林先生在他的《岁月墨痕》序言中进而指出:“书法创作审美追求源于作者的书学思想,而一位书家书学思想的成熟,取决于他的人生经历。启蒙教育、生存状态、交游圈子、文化熏 Looking back on the development of calligraphy in the past thirty years, it is not hard to see that many calligraphers have been caught up in the quagmire of speculation and learning and fostering their attitudes. Good calligraphers in their hands underestimate the cultural books, cultural writers who underestimate the good hands of writers, or have the skills and learning to pass the book, but also more than the general idea of ​​art . Just as these two kinds of views fiercely attack each other, Mr. Lin Tao made a calm thinking and put forward a new viewpoint of unification of techniques, study support and calligraphy. Mr. Lin further pointed out in the preface of his ”Ink and Wash in Time“: ”The aesthetic pursuit of calligraphic creation stems from the author’s bookmaking thinking, and the maturity of a booker’s calligraphy thinking depends on his life experiences. State, social circle, cultural smoked