二十世纪书法美学理论中,“形式”无疑成为一个带有强烈“修辞的优势”的词语,以至于在当下泛化为“视觉效果”之类的外在感性表述。以“形式分析”为手段的书法教学,往往仅仅出发于表面的形式规律,尤其不能深入其形上学依据和内在生成方式。形式,俨然已经替代、遮蔽了传统书论以“形势”为中心概念的话语结构,并几乎成为一个可以囊括一切视觉可见的现代 In the 20th century calligraphic aesthetics, “form ” undoubtedly becomes a word with a strong “rhetorical superiority ”, so that at the moment generalization is “visual effect ” and the like. Calligraphy teaching based on “formal analysis ” is often based on superficial formal rules, especially its metaphysical basis and its inherent way of production. Form has just replaced and obscured the discourse structure of the traditional book theory centered on “situation ” and has almost become a modern one that can cover all visual visions