一、树立正确的临摹观，要注意以下几方面问题
First, to establish a correct view of copying, we should pay attention to the following aspects.
1．临摹是手段不是目的。临摹古法书，目的是掌握书法基本规范，而不是复制、重复古人。因此，临摹必然要有一个进入与退出的过程，不能一味临古，食古不化。
1. copying is a means rather than a goal. The purpose of copying ancient books is to master the basic norms of calligraphy, rather than copying and repeating the ancients. Therefore, copying is bound to have a process of entry and exit.
2．临摹法帖，在探求笔法，而不是刻画外形。临摹的目的是弄清其笔法规律、所致之由，由个别而掌握一般，而不是机械描摹其形状。运笔方法不对，即使一点一画都描得十分逼真，那也无益于对书法笔法、规律的掌握。
2., copying the legal notes focuses on exploring the style of writing rather than depicting the appearance. The purpose of copying is to clarify the rules of its writing and the causes, and to master the general by individual rather than mechanical description of its shape. Wrong brush method, even if a picture is very vivid, it is not conducive to the mastery of calligraphy, rules.
3．临摹以掌握笔法为目的，不以外形描摹为目的，决不意味着临摹者可以任意发挥。相反，为了使临书者能准确掌握笔法技巧，建立在正确方法基础上的“形似”也是十分必要的。只有在“正确方法”加“形神毕肖”两者统一的前提下，临摹者才可能真正深入笔法的“深海区”，探触到笔法的细微处，由此也才可能真正掌握一种书法范本或÷个书家在笔法开拓上的胜处。因此，临摹反对不讲方法的亦步亦趋．，但坚持正确方法前提下的形神毕肖。
3. The purpose of copying is to master the brushwork, not to describe the shape. It does not mean that the copyist can play at will. On the contrary, in order to make the calligrapher master the skill of writing, it is necessary to establish the "likeness" based on the correct method. Only under the premise of the unification of "correct method" and "perfect form and spirit" can the copyist really go deep into the "deep-sea area" of the brushwork and probe into the subtleties of the brushwork, thus he can really grasp the best advantage of a model calligraphy or a comic calligrapher in the development of the brushwork. Therefore, copying objected to the same trend, but adhered to the correct method under the premise of shape and spirit.
二、书法与文学的关系
Two, the relationship between calligraphy and literature.
书法和文学，都是人生激情的吐露，两种艺术虽属不同艺术类别，但在精神与表现上，却息息相通。书情的畅达，可以推动文思的妙响；文思的高逸，也可带动书意的高翔。
Calligraphy and literature are both expressions of passion for life. Although they belong to different art categories, they are closely linked in spirit and expression. The smooth flow of books can promote the wonderful sound of Wen Si, and the high ease of Wen Si can also drive Gao Xiang of book meaning.
三、隐含的书法“生态形式”及其结构
Three, the implied "ecological form" of calligraphy and its structure.
书法艺术的文化生态形式由以下几个层次组成：(1)文字语义层；(2)笔墨外形层(点画仪态、结构样式)；(3)墨象层(筋骨肉血、精神气质)；(4)历史文化层(性情道德伦理)。
The cultural and ecological forms of calligraphy art consist of the following levels: (1) the semantic layer of characters; (2) the external layer of brush and ink (stippling posture, structural style); (3) the ink layer (flesh and blood, spiritual temperament); (4) the historical and cultural layer (temperament and moral ethics).
文字语义层：严格说来这一层次是非书法的，支持它的是文字的“原始语言功能”——传达思想，表达意志。但在书法文人化过程中，文字的内容，已成为代表书法艺术主体的“文人书法”的不可分割的一部分；从创作角度说，书家“露顶据胡床”(李颀赠张旭诗)、“须臾扫尽数千张”（李白赠怀素诗)，是因为有感而发；从欣赏者角度说，拥有“阅读快乐”的书法欣赏与没有阅读快乐的书法欣赏(如张怀瓘所说“惟观神采”)，其审美冲击强度与感受深度是有差异的。按照传统文化给书法艺术确定的整体定位——抒情、达性、修身、教化，语义层应该是书法艺术有机构成的一部分；缺少了它，书法艺术的完整性将受到伤害。因此，我们把“语义层”作为书法艺术生态形式的基础层。
Literary Semantics: Strictly speaking, this level is non-calligraphic, supporting it is the "original language function" of the text - to convey ideas and express will. However, in the process of calligraphy humanization, the content of characters has become an integral part of the "literati calligraphy" which represents the main body of calligraphy art; from the creative point of view, the calligrapher "exposes the roof according to the bed of Hu" (Li Jie donated Zhang Xushi), and "has to sweep thousands of pieces" (Li Bai donated Huaishu poetry), because of his feelings; from the angle of appreciator; According to Du, there are differences in aesthetic impact intensity and depth of feeling between calligraphy appreciation with "reading pleasure" and calligraphy appreciation without "reading pleasure" (such as Zhang Huaizhao's "only look". According to the overall orientation of Chinese traditional culture to calligraphy art - lyricism, expressiveness, self-cultivation, education, the semantic layer should be an organic part of calligraphy art; without it, the integrity of calligraphy art will be hurt. Therefore, we regard "semantic level" as the basic level of calligraphy art ecological form.
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