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本文阐述了中国书法从起源于实用性为主发展到艺术性为主,又从古典形态转变到现代形态的过程。作者指出:从魏晋南北朝之前的书法“尚用”主张到魏晋、唐宋时期的“尚意书风”;从２０世纪初蔡元培先生的《以美育代宗教说》到“百花齐放、百家争鸣”,无不与时代发展的需要有着密切的联系。由此揭示书法艺术在其发展过程中所独有的双重性——即艺术性与实用性的变迁;是历史发展的必然产物。
This essay elaborates on the process of Chinese calligraphy from its origins in practicality to its artistic predominance and its transformation from classical forms to modern forms. The author points out that from the pre-Wei, Jin and Northern and Southern Dynasties calligraphy “still use” advocates to Wei Jin, Tang and Song Dynasties “Shangyi Shufeng”; from the early 20th century, Mr. Cai Yuanpei’s “Aesthetic Education on Religion” to “Hundred Flowers, a hundred schools of thought” , All are closely linked with the needs of the development of the times. This reveals the unique duality of calligraphy in its development - that is, artistic and practical changes. It is an inevitable outcome of historical development.