近日．我常作中国艺术精神中“道”“器”问题的思考,特别是有些学者用西学来治东方艺术精神的寻绎,总给人“道有不昭”之疑。西学可以借用．但绝不是阐释东方艺术精神的钥匙。我认为,东方艺术还是以东方哲学精神来解释是唯一的正确途径。在中国传统哲学思想中,历来都是人格意识作为衡量艺术家与作品与优劣的审美原则．历代大书法家他们都有一个共同点．那就是“以道事艺”．而不是“以技事艺”。偶 recently. I often think of the issue of “Tao” and “device” in the Chinese artistic spirit. In particular, some scholars use Western learning to find the oriental artistic spirit and always give suspicions that there is “obvious truth.” Western learning can borrow. But by no means is the key to interpreting the artistic spirit of the East. In my opinion, Eastern art is still the only correct way to explain it in the spirit of Eastern philosophy. In Chinese traditional philosophical thinking, personality consciousness has always been regarded as the aesthetic principle to measure the pros and cons of artists and works. All generations of calligraphers have one thing in common. That is “to do things art.” Not “artistry skills.” I