问:陈先生,我读过你很多著作,发现你对书法也很关心,你能否给我们书法界讲几句话? 答:关于书法,我没有时间作过多的思考,但我一直坚持书法要向‘正、大’方面发展,一个‘正’,一个‘大’,古今大书法家都离不开这条路。‘大’,气象要大,而不是搞‘小巧别致’,古今大家没有一个靠‘小巧别致’出名的,所以,举不出一个例子。但‘小巧别致’的书法存在不少,时下尤多,象××的书法,一拐一顿,挑来踢去,看上去很别致,实则内行无一人承认其书法是艺术,还有的书法靠抖抖抖而成,有的书法忸忸妮妮,虽然别致,但不成气候。‘正’就是‘尚法’的‘法’,这个‘法’,我曾著文解释过,是《荀子》‘《礼》、《乐》法而不说’的‘法’,而不是时下书家以为的‘方法’之法,方法的法也和‘韵’、‘意’不统一。‘正’和‘邪’、‘怪’相对,象郑板桥的书法以‘怪’而名,就不属‘正’的气象,更不属‘正、大’气象。所以,有人评郑板桥书法,‘欲变而不知变也。’郑板桥就不可能称为大书法家。简单的说:‘正’就是正正规规,不搞歪门邪道;‘大’,就是大气象,不搞小巧别致。颜真卿的书法当然是‘正、大’气象的典型。所以,后人说‘学 Q: Mr. Chen, I have read many of your books and found that you are also very concerned about the calligraphy. Can you give us a few words about the calligraphy? A: I did not have time to think too much about calligraphy, but I always insisted Calligraphy to the ’positive and big’ aspects of development, a ’positive’, a ’big’, ancient and modern calligrapher are inseparable from this road. ’Big’, the weather should be large, rather than engage in ’compact chic’, ancient and modern times we do not have a ’small chic’ famous, so can not give an example. However, there are many calligraphies that are small and chic. Nowadays, there are a lot of calligrapher’s handwriting, such as XX calligraphy. Shaking by shaking, some calligraphy 忸 忸 Nini, although chic, but not a climate. ’正’ is the ’law’ of ’Shang Fa’. This ’law’, as I explained in the text, is the ’law’ of ’Xunzi’ The book’s method of ’method’, method method and ’rhyme’ and ’meaning’ are not unified. ’Zheng’ and ’evil’, ’strange’ relative to the calligraphy as Zheng Banqiao to ’blame’ and the name, it is not a ’positive’ weather, nor is it ’positive, big’ weather. So, someone commented Zheng Banqiao calligraphy, ’want to change but I do not know change also. Zheng Banqiao can not be called a big calligrapher. Simply put: ’is’ is a regular pattern, not crooked and evil; ’big’ is the atmosphere, not to engage in small and unique. Yan Zhenqing’s calligraphy of course is ’positive, big’ typical of the weather. So, later generations say ’learn