（点击本页标题下方的“来源：《中国艺术报》”，查看报纸文章，链接为：http://www.cflac.org.cn/zgysb/dz/ysb/history/20210331/index.htm?page=/page_7/202103/t20210331_540249.htm&pagenum=7）
书法艺术强调融合、贯通与兼收并蓄，但也强调排异、独具与别开生面。所谓“排异”，即排斥异己力量，以保持原生机能、状态与风貌。在数千年演进过程中，“排异”功能为纯洁书法艺术、承传独特魅力发挥巨大作用。
《黄庭经》（局部） 王羲之
排斥俚俗与无益的交融，以保持形体规范与美观
早期文字蜕变生衍，非规范化俚俗、草率现象一直侵扰文字正常发展。战国时期，社会普遍存在文字随意化、臆想化倾向，导致产生大量不可辨识的异体字。诸侯各国或出于风俗习性或出于自身理解，任意赋予文字造型，特别是“蝌蚪文”“鸟虫书”，因过分顾及其装饰作用和工艺色彩，一定程度上滑离文字既有发展轨辙。与其他诸侯国相比较，秦国文字单一性较强，虽也有少数异体字，但不仅数量少而且结构悬殊不大，尤其是秦青铜器文字，因强调正统、突出通识、力避俚俗，具有较强的严肃性。文字排斥俚俗，从政治出发有利于国家施放号令、统治管理，从文字自身讲，“标准”是文字由象形向符号演变的必然要求，各行其形，各取其意，任意改变部首组合与增减笔画、变异或曲解形体，只能致使文字繁难与不可辨识。
这种形体上的“排异”还表现在对已成熟文字篆、隶、行、楷体的并存并现上。因书写多元性，导致四体在形态上风貌有别而未归于一统。篆隶之间虽互为交融，但笔画“篆曲隶直”始终分明有致。“隶变”对隶书成熟有重要作用，但隶书几乎与篆书同步发展，并非完全胎脱篆体而成，春秋时《侯马盟书》《温县盟书》标志性笔画“蚕头雁尾”就已露端倪，而且后期此笔意始终侍奉于隶体，从未向他体旁逸斜出。《居延汉简》隶书，波磔分明而且优美，为社会普遍适用，但在同期刻石《五凤二年刻石》篆文中，不见波磔丝毫痕迹。为保持各自机能与血脉，书论中更是强调四体不同要求，阻隔四体之间苟且亲昵与不良交织。正如晋卫铄《笔阵图》中说：“结构圆备如篆法，飘飏洒落如章草，凶险可畏如八分，窈窕出入如飞白，耿介特立如鹤头，郁拔纵横如古隶。然心存委曲，每为一字，各象其形，斯造妙矣，书道毕矣。”
排斥思潮与板滞的风貌，以保持内质鲜活与灵动
书法受社会文化思潮的渗透与干预，但书法在文化思潮面前维系自身体面与尊严，表现得近乎匪夷所思。
以佛教对书法影响为例。佛教强调精神状态专注一境而不散乱，要心绪宁静、思虑集中，还有佛理“意象论”“顿悟说”以及“色空观”等，都被书法作为有益元素加以吸收。但是，书法自身也随即形成强有力的抗体，来排斥佛教文化思潮的波及。一方面，恣性高扬，反对执着于物，倡导悠游于乐，提倡书法家要做到适心适手，畅所胸怀。书法这门特殊艺术，有着其他艺术所难以比拟的情绪性，富于动感，讲究行气抑扬顿挫与收放自如，正好印证书家内在心理情绪之律动，如果心如死灰，静水一潭，书法家灵性将枯萎凋谢，作品将不会灿烂鲜活。另一方面，藐视“写经体”，反对千篇一律、僵死呆滞。在印刷发明之前，佛教经典的弘布流通，都靠书家纸墨抄缮完成，其风格来源主要是汉简和汉魏时期的楷书新体，这种书体强化正体意味，散发静谧、庄严与凝重的审美特征，部分作品成为书法艺术中的珍品，但因书法与佛教并未建立起对应性的审美互动系统，使得“写经体”并没有被书法搁上高位，从未占居书法主流地位，在南朝一直被排拒于文人书法核心之外，即使如东晋王羲之写《黄庭经》也很少用写经笔意。在北朝，“写经体”中表现的强悍雄强风格恰恰又走向了佛理反面。在整个南北朝书法发展中，没有一位书家以写经名世，这在一定程度上极大地排斥着佛教对书法审美意识的干扰。
排斥因循与不当的同化，以保持风格独具与多元
朝代并不是书法风格区别的必然因素，但书法奔涌的长河总是在不同朝代呈现不同的特征。这主要是因为每一朝代书家群体，反对因循前期章制，有意识地规避前人书法艺术高峰，另觅他途从而构建自己的审美家园。晋人深得“中和”之美，唐人无法因循占着便宜，逼迫在“法”与“情”两个极端付出新的努力。宋书家则更为艰难，既不能沿着晋韵之路继续拓展而枉费大量才情，也不能承接唐法之宅宇安心蛰居而尽拾前人牙慧。在前朝两座高峰之间求得“意”的另一山峦。宋苏轼在他的《东坡集》说：“吾书虽不甚佳，然自出新意，不践古人，是一快也。”于是“尚意”成为宋朝书法总体特征。尽管时代越往后，可供选择的形式因素越有限，但排斥因循的传统，总能使书法发展山重水复疑无路，船到桥头自然直。
就书家个人而言，排斥同化是书家共性。自我风格对于一个书家至关重要。书家总希望自身能够创作出独一无二的艺术作品，这一创作动机，既是一种自身追求，也是书法排异的先天反映。因“排异”，使得他们创作主体意识，立体鲜明地凸现出来，而指向独特的艺术标杆。晚唐书家释亚栖《论书》：“凡书通即变。王变白云体，欧变右军体，柳变欧阳体，永禅师、褚遂良、颜真卿、李邕、虞世南等，并得书中法，后皆自变其体，以传后世，俱得垂名。若执法不变，纵能入石三分，亦被号为书奴，终非自立之体，是书家之大要。”这段书论表明“排异”才能别开生面而进入书法艺术之堂奥。当然，“排异”不是指不要汲取别人成果，而是指在包容万方基础上对自己的一种坚守。书家几乎都会在别人成果中享用一段时日后才能从别人篱笆下跳出，这样才会感到自我价值回归与舍弃仰人鼻息的快乐。
排斥时尚与眼前的喧嚣，以保持基因原生与正宗
书法上一直有“回归古典”“取法源头”之论，以排斥现时喧嚣，这是书法艺术又一理论原点。没有哪一门艺术比书法更讲究要回归传统，可以说书法史有多长，崇拜古法历史就有多长。迄今为止，所能见到最早书论东汉赵壹《非草书》，就是一篇具有强烈排异时尚的书论。在赵壹心目中，书法地位之所以高贵，就是因为它是“天象所垂”“河洛所吐”“圣人所造”，与“当今”草书格格不入。这一厚古薄今思维定势，在汉代以后始终左右着书论的发展与完善，几近酿成传统书法中必须接受而又无法摆脱的宿命警言。
书法之所以排斥眼前喧嚣，是因为审美“距离”在诱导与驱动。在艺术审美中，书法创作受制于两种因素，一是书家情感释放不会脱离自身处境，不会脱离实际生活，不会脱离滋育他的文化土壤；二是书法赏析恰恰又依靠历史文化积淀与过去的审美体验。只有以足够长的历史跨越和时代洗汰过、被认同的成熟的经验作支撑，才能对书法内涵与真谛有所感悟。正是这两者使得书法过分看重古典而与现世审美保持一段距离。这距离，也促进书家一定程度上纵深探究书法原本，促进书家摆脱实际生活迷人眼目的缤纷乱象，从古典中汲取营养，以保持书法传承基因的纯洁与正宗。
排斥眼前喧嚣，可以更好审视现实书风，校正和完善所泛澜之流弊。宋朝在“尚意”驱使下，文人书法写意特征产生极强的审美疲劳。对此，元朝书家赵孟頫大力提倡厚古薄今，倡导以晋唐为法鉴，来校正现时琐细浓艳和险怪霸悍之风，《子昂画并跋卷》中记载他的话“贵有古意，若无古意，虽工无益”，他身体力行，专心临摹古碑帖，以晋为准绳，再由此上追溯两汉先秦，广涉行楷、今草章草、隶书、小篆乃至籀书，后终得大成。
（作者：嵇绍玉，中国文艺评论家协会会员）
延伸阅读：
中国文艺评论家协会纵览
传统书法以何超越“功利”色彩（嵇绍玉）
“错落”在传统书法中之审美价值（嵇绍玉）
(click the "source: China Art daily" below the title of this page to view the newspaper article, and the link is: http://www.cflac.org.cn/zgysb/dz/ysb/history/20210331/index.htm?page=/page_7/202103/t20210331_540249.htm&pagenum=7 ）The art of calligraphy emphasizes integration, penetration and inclusiveness, but also emphasizes exclusion, uniqueness and innovation. The so-called "exclusion" means rejecting the forces of dissidents in order to maintain the original vitality, state and style. In the process of thousands of years of evolution, the "exclusion" function has played a great role in purifying the art of calligraphy and inheriting the unique charm. In huangtingjing (part), Wang Xizhi rejected the blending of slang and uselessness, in order to maintain the standard and beautiful shape. The early characters degenerated and evolved. The phenomenon of non-standard slang and carelessness has been disturbing the normal development of characters. During the Warring States period, there was a general tendency of random and imaginative characters, resulting in a large number of unrecognizable variant characters. The vassal countries, either out of customs or out of their own understanding, arbitrarily give the text shape, especially the "tadpole text" and "bird and insect book". Due to excessive consideration of its decorative role and craft color, it slips away from the existing development track of the text to a certain extent. Compared with other vassal states, the characters of the state of Qin are relatively simple. Although there are a few variant characters, they are not only small in number, but also have little difference in structure. In particular, the bronze characters of the state of Qin have strong seriousness because they emphasize orthodoxy, highlight general knowledge and avoid slang. Starting from the standard and variation of characters, it is not conducive to the evolution of characters and pictograms from the standard and variation of characters to the rule of the country. It is inevitable that "it is difficult to change the shape of characters and pictograms from the standard and variation of characters to the rule of the country". This kind of physical "exclusion" is also reflected in the coexistence of seal, official, line and regular script. Due to the diversity of writing, the four styles are different in form and do not belong to unity. Although the seal and official script blend with each other, the strokes of "seal, song and official straight" are always clear and consistent. "Li Bian" played an important role in the maturity of Li script, but Li script developed almost synchronously with the seal script, and it was not completely born out of the seal script. In the spring and Autumn period, the symbolic stroke "silkworm head and goose tail" in Houma alliance and Wenxian alliance had been revealed, and in the later period, this meaning always served the Li script and never escaped to other bodies. The official script of Juyan Han bamboo slips has clear and beautiful waves, which is generally applicable to the society. However, there is no trace of waves in the seal script of the stone carving of Wufeng in the second year of the same period. In order to maintain their functions and blood vessels, the book theory emphasizes the different requirements of the four bodies and blocks the intimacy and bad interweaving between the four bodies. As Jin Weishuo said in the "pen array map": "the structure is round and ready like seal script, floating and scattering like Zhang Cao, dangerous and frightening like eight points, graceful and graceful like flying white, Geng Jie stands like a crane head, and Yu pulls vertically and horizontally like an ancient scribe. However, I feel wronged. Every word is like its shape, so I make it wonderful, and the calligraphy is finished." Excluding the ideological trend and sluggish style in order to keep the internal quality fresh and flexible. Calligraphy is infiltrated and interfered by social and cultural ideological trend, but calligraphy maintains its dignity and dignity in front of cultural ideological trend, which is almost unimaginable. Take the influence of Buddhism on calligraphy as an example. Buddhism emphasizes that the state of mind should focus on the whole situation rather than scattered. It should be calm and concentrated. There are Buddhist "image theory", "epiphany theory" and "color space view", which are absorbed by calligraphy as beneficial elements. However, calligraphy itself immediately formed a strong antibody to repel the spread of Buddhist cultural thoughts. On the one hand, it advocates that calligraphers should be comfortable with their hearts, hands and minds. Calligraphy, a special art, is full of emotion, which is unmatched by other arts. It is dynamic. It pays attention to the movement of Qi, cadence and freedom of retraction and release, which just confirms the rhythm of the calligrapher's internal psychological emotion. If the heart is like death, the calligrapher's spirit will wither and wither, and the work will not be bright and fresh. On the other hand, they despised the "scripture writing style" and opposed the stereotype and rigidity. Before the invention of printing, the circulation of Buddhist classics depended on Calligraphers' paper and ink copying. Its style was mainly derived from the new style of Han bamboo slips and regular script in the Han and Wei dynasties. This style strengthened the meaning of formal style and distributed quiet, solemn and dignified aesthetic characteristics. Some works became treasures in the art of calligraphy. However, due to the lack of a corresponding aesthetic interaction system between calligraphy and Buddhism, the "scripture style" was not put on a high position by calligraphy, It has never occupied the mainstream position of calligraphy, and has been excluded from the core of literati calligraphy in the Southern Dynasty. Even if Wang Xizhi wrote Huangting Jing in the Eastern Jin Dynasty, he rarely used the meaning of calligraphy. In the Northern Dynasty, the strong style expressed in the "Sutra writing style" just went to the opposite of Buddhism. In the whole development of calligraphy in the northern and Southern Dynasties, no calligrapher was famous for writing scriptures, which greatly excluded the interference of Buddhism on the aesthetic consciousness of calligraphy to a certain extent. Rejecting conformity and improper assimilation in order to maintain unique style and pluralistic dynasties are not the inevitable factors for the difference of calligraphy style, but the surging river of calligraphy always presents different characteristics in different dynasties. This is mainly because the calligraphers of each dynasty oppose following the previous rules and regulations, consciously avoid the peak of previous calligraphy art, and find another way to build their own aesthetic home. Jin people are deeply in the beauty of "Neutralization". Tang people can't take advantage of it and force them to make new efforts in the two extremes of "law" and "emotion". Song calligraphers are even more difficult. They can neither continue to expand along the road of Jin Yun and waste a lot of talent, nor undertake the house of Tang FA to live in seclusion and collect the wisdom of their predecessors. Another mountain that seeks "meaning" between the two peaks in the previous dynasty. Su Shi of Song Dynasty said in his collection of Dongpo: "although my book is not very good, it has new ideas and does not practice the ancients. It is fast." Therefore, "advocating meaning" became the overall feature of calligraphy in the Song Dynasty. Although the later the times, the more limited the form factors available for selection, the tradition of rejecting the following can always make the development of calligraphy heavy mountains and rivers, no doubt, and the ship will be straight at the end of the bridge. As far as individual calligraphers are concerned, exclusion and assimilation are the common characteristics of calligraphers. Self style is very important for a calligrapher. Calligraphers always hope that they can create unique works of art. This creative motivation is not only a self pursuit, but also a congenital reflection of calligraphy exclusion. Because of "exclusion", their creative subject consciousness is vividly highlighted in three dimensions and points to a unique artistic benchmark. Shi Yaqi, a calligrapher in the late Tang Dynasty, wrote in his book on Calligraphy: "every book changes immediately. The king changes the white cloud style, Europe changes the right military style, Liu changes the Ouyang style, and Zen master Yong Yong, Chu suiliang, Yan Zhenqing, Li Yong, Yu Shinan, etc. all of them have changed their body since they obtained the law in the book, so as to pass it on to future generations, and all of them have a reputation. If the law enforcement remains unchanged, even if they can enter the stone three points, they are also called Book slaves. They are not independent in the end. They are the great importance of calligraphers." This calligraphy theory shows that "exclusion" can make a new face and enter the mystery of calligraphy art. Of course, "exclusion" does not mean not to draw on the achievements of others, but to stick to yourself on the basis of inclusiveness. Almost all calligraphers will enjoy the achievements of others for a period of time before they can jump out of others' fences in the future. Only in this way can they feel the happiness of returning to their self-worth and abandoning their dependence on others. Repel the fashion and the current noise, so as to maintain the original and authentic genes. There has always been the theory of "returning to the classics" and "taking the source" in calligraphy, so as to repel the current noise. This is another theoretical origin of calligraphy art. No art pays more attention to returning to tradition than calligraphy. It can be said that the history of calligraphy is as long as the history of worshipping ancient law. So far, the earliest book theory Zhao Yi's non cursive script in the Eastern Han Dynasty is a Book Theory with strong exclusionary fashion. The reason why "Ge Luo's calligraphy" is different from "Ge Luo's calligraphy" in today's mind is that it is "made in heaven" and "Ge Luo's calligraphy". This set of thinking of valuing the past and neglecting the present has always influenced the development and improvement of calligraphy theory after the Han Dynasty, which has almost become a fatalistic warning that must be accepted and can not be rid of in traditional calligraphy. The reason why calligraphy rejects the noise in front of us is that aesthetic "distance" is inducing and driving. In artistic aesthetics, calligraphy creation is subject to two factors: one is that the calligrapher's emotional release will not be divorced from his own situation, from real life, and from the cultural soil that nurtures him; Second, the appreciation of calligraphy depends on the accumulation of history and culture and the aesthetic experience of the past. Only supported by a long enough historical leap and mature experience that has been washed away and recognized by the times, can we have an understanding of the connotation and true meaning of calligraphy. It is these two factors that make calligraphy pay too much attention to classicality and keep a distance from earthly aesthetics. This distance also promotes calligraphers to explore the original of calligraphy to a certain extent, and promotes calligraphers to get rid of the dazzling chaos of real life and absorb nutrition from classics, so as to maintain the purity and authenticity of calligraphy inheritance genes. Rejecting the noise in front of us can better examine the realistic book style and correct and improve the disadvantages of the billows. Driven by "advocating meaning", the freehand brushwork characteristics of literati calligraphy produced strong aesthetic fatigue in the Song Dynasty. In this regard, Zhao Mengfu, a calligrapher of the Yuan Dynasty, strongly advocated valuing the past and neglecting the present, and advocated taking the Jin and Tang Dynasties as a reference to correct the current trivial, colorful, dangerous and fierce style. According to his words recorded in Zi'ang's painting and postscript volume, "you have ancient meaning, but if you don't have ancient meaning, it's useless to work". He took Jin as the yardstick, and then traced back to the Han and pre Qin Dynasties, covering regular script, modern cursive script, official script, small seal script and even sheshu, and finally achieved great success. (author: Ji Shaoyu, member of China literary and Art Critics Association) extended reading: China literary and Art Critics Association reviews how traditional calligraphy surpasses the aesthetic value of "utilitarian" color (Ji Shaoyu) and "scattered" in traditional calligraphy (Ji Shaoyu)