上个世纪八十年代,卢辅圣认为,书法正面临一次史无前例的危机,危机促使书法将进行一次决定性的抉择,一场或者新生者死亡的抉择,然而,二十几年过去了,这段时间里,在现代性猛烈地冲击和拍打下,书法这门古老艺术的长堤并没有出现全面崩塌,人们惊奇地发现,在理论上,尽管说辞老套,阐释乏力,传统书法美学的许多范畴依然存在并承担着当代书法理论的重要岗位。而创作层面上,尽管呈整体精神高度的下滑,也没有多少的创新性可言,全民性的广泛参与仍使书坛呈热闹非凡景象。无疑,书法美学具有比卢辅圣所认识的更为复杂的结构和关系,它具有更为强大的免疫力,具有更为稳固的传延系统,以致在如此复杂的当代,书法依然得以逸出社会文化的整体之外。 80s of last century, Lu Fu-Sheng believes that calligraphy is facing an unprecedented crisis, the crisis prompted the calligraphy will make a decisive choice, a newborn or the death of a choice, however, twenty years later, during this time In the violent impact and tapping of modernity, the longwall of the ancient art of calligraphy did not collapse completely. People were surprised to find that in theory, though many aspects of traditional calligraphy aesthetics persist despite the rhetoric and weak explanation And bear the important position of contemporary calligraphy theory. On the creative level, however, there is not much innovation in spite of the overall decline in spirit and the extensive participation of universal people still makes the book altogether a bustling spectacle. Undoubtedly, calligraphic aesthetics possesses a more complex structure and relationship than the Louvre sanctuary recognized. It has a more powerful immunity and a more stable system of transmission so that in such a complicated contemporary period calligraphy can still escape social culture Outside of the whole.