崔向君是书法家,我们是知道的。向君写的大篆,早年是那种非常文气、非常精致的,现在似乎在文气中肆意地宣泄着积蓄的情感,好似一个老学究不时弄出点活泼来,既耐得品嚼又值得玩味,这或许是他当前篆书的标签了。书法本来就是闲事,是文人的“副产品”。其道之以文,道之以艺,才是书法的最终归属。以书法而书法,毕竟是技的层面,与艺相去甚远,更与道没有交点。我始终认为,书法作者先得之于技,而后剥离于技,才能道之于 Cui Xiangjun is a calligrapher, we know it. To the king to write the seal, the early years is the kind of very ethos, very delicate, and now seems to wantonly vent their emotions in savings, as if an old school come up with a bit lively, both resistant and chewy and worth pondering, This may be the label of his current seal script. Calligraphy has always been idle, is the literati “by-product ”. The way to the text, Tao of art, is the ultimate ownership of calligraphy. Calligraphy and calligraphy, after all, is the technical level, far from the art phase, but also with the Tao did not cross. I always think that calligraphic authors first got their skills, and then stripped of skills, in order to Tao