每当提到书法与人的关系,我们大概会马上想到“书如其人”的观点,并且可以轻松熟练而不假思索地,将书法的外在表现与个人的内在气质紧密联系起来。而一般而言,当书法与内在气质、人生修养相关联的时候,书法内隐的一面往往就开始被夸张了,如此,在许多人——这其中包括专业研究者——眼里,书法的全部表现与功能,就是平心静气、云淡风轻的心手合一,而书法技巧的研习亦如同高妙的宗教修炼一般,不食人间烟火,俨然成为一种心手轻柔的、内向的、独自进行的瑜伽之术。 Whenever we talk about the relationship between calligraphy and human beings, we will probably immediately think of the book as a person, and we can easily and skillfully connect the external manifestation of calligraphy with the inner temperament of the individual. In general, the calligraphic implicitness often begins to be exaggerated when it is associated with inner temperament and lifestyles, and so, in the eyes of many people, including professional researchers, calligraphy All performance and function are calm, bright and clean hands, and calligraphy skills study is also like the sublime religious practice in general, without human fireworks, has become a kind of gentle, introverted, alone Yoga technique.