书法是汉字书写的艺术。本书把中国书法史分为前楷书系统阶段、楷书系统阶段、楷书系统变异阶段和书法谱系变革阶段，其中楷书系统阶段又分为以王羲之为代表的前期和以颜真卿、柳公权为代表的后期阶段；从不同字体及其正体、草体之间的错综变化关系中，揭示出笔法运用、点画形态、单字结构、整体章法等书法艺术核心的形象构成因素的丰富表现形态及其演讲历程，系统考察历代书法名家名作的传承源流、艺术特征、历史地位；反思书法的历史文化境遇，在书法与社会政治关系上考察了秦篆规范化的“书同文字”、南北朝时期文化民族性对书风的影响、清代学术思想转型催生碑派书风等；在书法与文人精神生活关系上探讨了王羲之“坐而获逸”的贵族气度、宋代尚意书风体现的“为与士大夫治天下”的精神追求、明清之际士人心态变异对行草书的张扬等；对书法的审美追求作出新阐释，论定书法作为“抽象的形象”。辨正宋代尚意书风中的意、法关系，诠释赵孟頫的“用笔千古不易”，在前人观点的基础上提出了新的思考。

Calligraphy is the art of writing Chinese characters. This book divides the history of Chinese calligraphy into the stage of the pre-calligraphy system, the stage of the calligraphy system, the stage of the variation of the calligraphy system, and the stage of the reform of the calligraphy lineage, among which the stage of the calligraphy system is divided into the early stage represented by Wang Xizhi and the later stage represented by Yan Zhenqing and Liu Gongquan. From the intricate changes between different fonts and their orthographic and cursive fonts, the rich expression forms and speech processes of the image composition factors at the core of calligraphy art, such as brushwork use, pointillism form, single character structure, and overall seal method, are revealed, and the inheritance source, artistic characteristics and historical status of the masterpieces of calligraphy masterpieces of previous generations are systematically investigated. Reflecting on the historical and cultural situation of calligraphy, this paper examines the standardized "book with the same script" in the Qin Dynasty, the influence of cultural nationality on the style of calligraphy during the Southern and Northern Dynasties, and the transformation of academic thought in the Qing Dynasty to give birth to the style of calligraphy. In terms of the relationship between calligraphy and the spiritual life of the literati, the aristocratic temperament of Wang Xizhi "sitting and gaining ease", the spiritual pursuit of "ruling the world for the sake of scholars" embodied in the style of Shangyi calligraphy in the Song Dynasty, and the publicity of cursive writing by the mentality of the scholar during the Ming and Qing dynasties were discussed. A new interpretation of the aesthetic pursuit of calligraphy was made, and calligraphy was identified as an "abstract image". Correct the relationship between meaning and law in the style of Shangyi writing in the Song Dynasty, interpret Zhao Mengfu's "it is not easy to use the pen through the ages", and put forward new thinking on the basis of the views of predecessors.（AI翻译）