隶书是书家取法的重点。相对篆书来说,不存在释读繁难的一面。和楷书比较,皆具有雅俗共赏、端庄稳重的长处,但不像楷书易于出现板滞的不足,能见自然天质。隶书既能作为学书入门的基础范本,整个隶书体系可一通百通,进而旁涉篆、行、楷、草,可谓条条大道通罗马。邓石如、何绍基、赵之谦、吴昌硕等人的隶书成就非凡,得益于多体兼善,左右逢源。针对当前隶书创作存在的问题,我尝试提出“界限”一词,一是借以区别于“底线”。底线不用谈。书法讨论底线问题, Lishu is the focus of the book method. Relative seal script, there is no interpretation of the difficult side. Compared with the regular script, they are both elegant and popular, dignified and diligent but they are not prone to slackness in regular script and can be seen naturally. Lishu not only as a basic template for the introduction of learning books, the entire system of official script can be a pass, and next to seal, line, Kai, grass, can be described as a road to Rome. Deng Shiru, He Shaoji, Zhao Zhiqian, Wu Changshuo, who made extraordinary achievements in the official script, thanks to the meritorious, mercy. In response to the current problems in the creation of official script, I try to put forward the word “boundary”, one is to distinguish it from “bottom line ”. Do not talk about the bottom line. Calligraphy discusses the bottom line problem,