近日,曾翔编著的《艺术巨匠·米芾》由河北教育出版社出版面世。我有幸一睹为快,并有所思有所想。曾翔所展示的不是简单的书法史料说明功夫,而是在深刻阐释之后,解决在当代如何与传统对话的课题。书法理论研究的基础在于书法史,可以说没有“史”的积淀也就没有理论的深度和厚度。因而,书法史常常被作为最重要的观照对象,学术界目前在这方面也收获最丰。在书法史的研究上,有两种常见的 Recently, Zeng Xiang compiled the “master of art Mi Mi” by Hebei Education Publishing House was published. I have the privilege of seeing it fast and thinking and thinking. What Zeng Xiang does not show is simply the historical materials of calligraphy, but rather explains the issue of how to talk with the tradition in contemporary times after profound explanation. The basis of the study of calligraphy theory lies in the history of calligraphy, we can say there is no “history ” accumulation also has no theoretical depth and thickness. Thus, the history of calligraphy is often regarded as the most important object of observation, the academic community is currently also harvested in this area the most abundant. In the history of calligraphy, there are two common