在某种意义上,对于书法当代标准的再三讨论,本身就意味着标准的迷失。很显然,传统性和现代性的角色冲突已经使当代中国书法家的自我认同每每濒临分裂的境地。与古人相比,今人使用毛笔的时间量已经少得不能再少,在临池之功极端匮乏的前提下,博大精深的传统对于急于自成一家的当代书家来说,无异于万丈深渊。于是,现代艺术作为救命稻草纷纷被当代书家高高祭起,现代书法陡然间变成中国当代书坛的一大奇观。不过,以书法之名搞现代艺术,抑或以现代之名 In a sense, the repeated discussion of the contemporary standards of calligraphy in itself means the loss of the standard. Obviously, the conflict of character between tradition and modernity has caused the contemporary Chinese calligraphers’ self-identity to be often divided. Compared with the ancients, people nowadays use brush no less than the amount of time, in the extreme shortage of Pro-premise, the profound tradition for the eager to become a contemporary book, is tantamount to abyss. As a result, modern art, as a lifesaver, has been raised by contemporary book writers alike. Nowadays, modern calligraphy suddenly turns into a big spectacle in contemporary Chinese calligraphy. However, in the name of calligraphy to engage in modern art, or in the name of modern times