“书法批评”在当代是一个广义用词。它包括对书家的批评、对书法作品的批评、对书法活动的批评、对书法现象的批评,还包括对展览、赛事、论著的批评以及对批评的批评等等。在古代,书法批评大多采用随笔式和印象式批评,批评的着重点放在对作品的品评、鉴赏方面,多采用意象品评与分品品评方式,往往是三言两语,要言不烦。其特点是简洁明快,形象生动,其不足是笼统随意,容易简单化和片面化。进入现代社会后,随着书法展览活动的兴盛,尤其是随着书法刊物的大量涌现,书法批评日益活跃并日益显示出影响书风发展的影响力。书法批评不再满足于三言两语式的印象式批评,而是逐步向着解析化、多元化方向发展。多元化批评在当代才刚刚起步,新的批评之路需要当代书评家去探索与开拓。书评家既要研究传统、 “Calligraphy criticism ” is a broad term in contemporary. It includes criticism of calligraphers, criticism of calligraphic works, criticism of calligraphy activities, criticism of calligraphy phenomena, criticisms of exhibitions, events, treatises and criticisms of criticisms. In ancient times, most of the calligraphic criticism used essay and impression criticism. The criticism focused on the use of imagery evaluation and sub-product evaluation methods in the evaluation and appreciation of works. Its characteristics are simple and neat, vivid, its shortcomings are general, easy to simplify and one-sided. After entering the modern society, with the flourishing of calligraphy and exhibition activities, especially with the emergence of a large number of calligraphy journals, calligraphy criticism has become more and more active and has increasingly shown its influence on the development of calligraphy. Calligraphy criticism is no longer satisfied with the three words and two types of impressionistic criticism, but gradually toward the analytical and diversified direction. Diversification criticism has just started in the contemporary era. The new critical approach needs contemporary book critics to explore and develop. Book reviewers should not only study tradition,