The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic level of characters; (2) Brush and ink appearance layer (stippling appearance, structural style); (3) Ink image layer (flesh and blood, spirit and temperament); (4) Historical and cultural level (temperament, morality and ethics).

文字語(yǔ)義層：嚴(yán)格說(shuō)來(lái)這一層次是非書(shū)法的，支持它的是文字的“原始語(yǔ)言功能”——傳達(dá)思想，表達(dá)意志。但在書(shū)法文人化過(guò)程中，文字的內(nèi)容，已成為代表書(shū)法藝術(shù)主體的“文人書(shū)法”的不可分割的一部分；從創(chuàng)作角度說(shuō)，書(shū)家“露頂據(jù)胡床”(李頎贈(zèng)張旭詩(shī))、“須臾掃盡數(shù)千張”（李白贈(zèng)懷素詩(shī))，是因?yàn)橛懈卸l(fā)；從欣賞者角度說(shuō)，擁有“閱讀快樂(lè)”的書(shū)法欣賞與沒(méi)有閱讀快樂(lè)的書(shū)法欣賞(如張懷瓘所說(shuō)“惟觀神采”)，其審美沖擊強(qiáng)度與感受深度是有差異的。按照傳統(tǒng)文化給書(shū)法藝術(shù)確定的整體定位——抒情、達(dá)性、修身、教化，語(yǔ)義層應(yīng)該是書(shū)法藝術(shù)有機(jī)構(gòu)成的一部分；缺少了它，書(shū)法藝術(shù)的完整性將受到傷害。因此，我們把“語(yǔ)義層”作為書(shū)法藝術(shù)生態(tài)形式的基礎(chǔ)層。

Semantic level of characters: strictly speaking, this level is non-calligraphic. What supports it is the "primitive language function" of characters - conveying ideas and expressing will. However, in the process of literati calligraphy, the content of characters has become an integral part of "literati calligraphy", which represents the main body of calligraphy art; From the point of view of creation, the calligraphers "exposed the top according to the Hu bed" (Li Qi gave Zhang Xu poems) and "swept thousands of pieces in a second" (Li Bai gave Huai Su poems) because of their feelings; From the perspective of the admirer, there is a difference between the appreciation of calligraphy with "happy reading" and the appreciation of calligraphy without reading pleasure (such as Zhang Huaiguan's "only looking at the beauty"), the intensity of aesthetic impact and the depth of feeling are different. According to the overall positioning of Chinese traditional culture for the art of calligraphy - lyricism, expressiveness, self-cultivation and enlightenment, the semantic level should be an organic part of the art of calligraphy; Without it, the integrity of calligraphy will be damaged. Therefore, we take the "semantic level" as the basic level of the ecological form of calligraphy art.

“筆墨外形層”是“物質(zhì)”書(shū)法的開(kāi)始。任何書(shū)法的形象都需以點(diǎn)畫(huà)線條來(lái)構(gòu)筑。不同的點(diǎn)畫(huà)形態(tài)，具有不同的形狀(外輪廓線)、質(zhì)地(筆意墨韻)，而且每一個(gè)點(diǎn)畫(huà)都有其固定形式；漢字自身所具有的整體感和視覺(jué)心理反應(yīng)中的“完形意識(shí)”以及字義層的“辨讀吸引”，都賦予書(shū)法漢字以完整統(tǒng)一的“形體感”。這是一個(gè)裝載力量、性情、自然、倫理的黑色“書(shū)法外殼”。書(shū)法的“體”——字體、書(shū)體，就在這一層面劃開(kāi)畛域。

The "shape layer of brush and ink" is the beginning of "material" calligraphy. The image of any calligraphy needs to be constructed by stippling lines. Different forms of stippling have different shapes (contour lines) and textures (strokes and ink rhymes), and each stippling has its own fixed form; The overall sense of the Chinese character itself, the "gestalt consciousness" in the visual psychological reaction and the "discrimination and attraction" in the meaning layer all endow the calligraphic Chinese character with a complete and unified "form sense". This is a black "calligraphy shell" with strength, temperament, nature and ethics. The "style" of calligraphy - font and calligraphic style - is demarcated at this level.

“墨象層”是書(shū)法由“物質(zhì)”向“文化”、由“技”向“道”、由無(wú)我的“純客觀”之境向“物我交融”的有我之境轉(zhuǎn)化的過(guò)渡帶；它是筆墨外形層在欣賞者心靈中形成的一種綜合影象。“象”為“形”之現(xiàn)，它是觀察主體對(duì)客觀對(duì)象的一種遠(yuǎn)距離、大空間、模糊化、整個(gè)精神綜合把握。在這一層次，筆形墨質(zhì)因?yàn)樾蕾p主體的主觀因素的介入，每一個(gè)“小細(xì)胞”在思維世界里都獲得了“活形式”的意義。書(shū)法的筆畫(huà)、線條，獲得了力量感——遒勁、凝重、秀美、古拙，等等；書(shū)法的造型，或端莊，或典雅，或奇逸，或奔放，也獲得了某種虛幻的“生命”。書(shū)法的、漢字，在這個(gè)世界里，好像每一個(gè)都有獨(dú)立完整的生命，點(diǎn)畫(huà)波撇，宛若人的手足，一舉手一投足，顧盼有情。這是一個(gè)有待欣賞主體實(shí)施“再創(chuàng)造”的物質(zhì)構(gòu)架，用西方現(xiàn)代美學(xué)“接受美學(xué)”學(xué)派的術(shù)語(yǔ)來(lái)說(shuō)，它是一個(gè)有待讀者把自己投進(jìn)去的“召喚結(jié)構(gòu)"。

The "ink image layer" is the transition zone of calligraphy from "material" to "culture", from "technology" to "Tao", and from the "pure objective" realm without self to the "blend of things and me"; It is a comprehensive image formed by the shape of the brush and ink in the viewer's mind. "Image" is the appearance of "form", which is the observation subject's comprehensive grasp of the objective object in a long distance, large space, fuzziness and the whole spirit. At this level, due to the subjective factors of the appreciation subject, each "small cell" has acquired the meaning of "living form" in the thinking world. The strokes and lines of calligraphy have gained a sense of strength - strong, dignified, beautiful, ancient, and so on; The shape of calligraphy, either dignified, or elegant, or exotic, or unrestrained, has also obtained some kind of illusory "life". Calligraphy, Chinese characters, in this world, it seems that each has an independent and complete life. The stippling wave is like a person's hands, hands and feet, looking forward to love. This is a material structure that needs to be "recreated" by the subject of appreciation. In the terms of the "reception aesthetics" school of western modern aesthetics, it is a "calling structure" that needs to be put into by readers.

“歷史文化層”是書(shū)法藝術(shù)生態(tài)形式的層，它突破了書(shū)法筆墨形式的桎梏，以書(shū)法形式與大干世界運(yùn)動(dòng)形式的“形式同構(gòu)”為突破管道，通過(guò)書(shū)法特殊創(chuàng)作、鑒賞支化心理認(rèn)知模式的培養(yǎng)，把大量的非書(shū)法內(nèi)容灌注在書(shū)法筆畫(huà)線條的黑色“隧道”中。

The "historical and cultural level" is the highest level of the ecological form of calligraphy art. It breaks through the shackles of the form of calligraphy and ink, and uses the "form isomorphism" of calligraphy form and the form of the Great Stem World Movement as the breakthrough channel. Through the cultivation of the special creation of calligraphy and the appreciation and support of psychological cognitive mode, a large number of non-calligraphy content is poured into the black "tunnel" of calligraphy and brush lines.

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