《泰山经石峪金刚经》镌刻于泰山斗母宫东北方中溪支流的一片大石坪上,字径约50厘米,现存1067字,被尊为“大字鼻祖”、“榜书之宗”。清人冯云鹏在《金石索》中盛赞其“如印泥画沙,草情篆韵,无所不备”。《泰山经石峪金刚经》书法所表现出的既空灵又中和的境界正是释儒审美境界融合的产物。其把释家所崇尚的淡远、虚灵的美与儒家所崇尚的中和、充实、至诚与崇高的美有机地统一了起来,故形成了《泰山经石峪金刚经》书法“高浑简穆”(康有为语)的美,也奠定了《泰山经石峪金刚经》在中国书法美学史上不可动摇的地位。实际上,这也为我们当代书法的创新提供了一个很重要的启示:书法艺术的创新首先应该是文化的创新,而文化交融 “Taishan Stone Valley Diamond Sutra” engraved in Taishan Doumen Gongbei tributary of the northeast of a large stone floor, about 50 cm in diameter, the existing 1067 words, was revered as Case “. Qing Feng Yunpeng in the ”stone“ praised its ”such as ink mud, grass rhyme seal, nothing to do “. The realm of eternity and neutrality shown in the calligraphy of Taishan Jinguang Diamond Sutra is the product of the integration of Confucian aestheticism. It unifies the remoteness, virtual spirit advocated by the release house with the neutralization, enrichment, sincerity and lofty beauty advocated by the Confucianists. Therefore, it forms the calligraphy style of ”Taishan Jingu Jinguang Sutra“ calligraphy Muddy simple ”(Kang language) beauty, but also laid the“ Taishan Stone Valley Jingang ”in the history of Chinese calligraphy unshakable position. In fact, this also provides a very important revelation for the innovation of our contemporary calligraphy: the innovation of calligraphy should first be a cultural innovation, and the cultural blend