书法艺术,作为时代的精神产物,必然要受到诸方面的影响和制约,只是,哪一种影响和制约都不会是对等的。这样就使不同时代的书法家对书法精神内涵产生了不同的理解,达到不同的深度。值得注意的是书法艺术价值观的演进。书法艺术与绘画艺术社会性的不同,在于书法艺术在古代社会是作为朝野文人都需要掌握的技巧之一。这种全民化的掌握,使书法艺术成为一种共同的需要。当价值重心有时为某种行政手段所凌驾的时候,创作的发展就可能出现某一方面的偏颇。如唐初对王书的推崇,明清要求文人学士擅“台阁体”、“馆阁体”,都在一定程度上使书法艺术远离了书法家的内心世界。当一种教条主义思维成了一种价值惯性时,就从深层的潜在观念上抑制了书法创作的发展,如形成单向度发展、片面追求短期价值等等。不同时代尽管可以有其创作特色,但从整个书 As the spiritual product of the times, calligraphy art inevitably has to be influenced and restricted by all aspects. Only that one kind of influence and restriction will not be equal. In this way, the calligraphers of different ages have different understanding of the connotation of calligraphy spirit and reach different depths. It is noteworthy that the value of calligraphy art evolved. The social difference between calligraphy art and painting art lies in the fact that calligraphy art in ancient society is one of the skills that need to be mastered by scholars both in the field and in the public. This mastery of the people, so calligraphy art has become a common need. When the value center of gravity is sometimes overridden by some kind of administrative means, the development of creation may be biased in some way. Such as the early Tang Dynasty respected Wang Shu, Ming and Qing dynasties required literati bachelor good “Taiwan Pavilion body”, “Museum Pavilion body”, to a certain extent, to calligraphy art away from the calligrapher’s inner world. When dogmatic thinking becomes a kind of value inertia, it inhibits the development of calligraphy creation from deep potential concepts such as the development of unidirectional development and the one-sided pursuit of short-term value. Although different times can have their own creative features, but from the entire book