中国现代书法已走过了近二十年历程,该是好好反思和小结的时候了。一个不争的事实是,近二十年中,有关现代书法的种种话语远远超出了作品给人的影响和印象。从事现代书法的勇士们在『八五』第一波浪潮之后,更多地将精力放在了与对现代书法痛加诘骂的人们喋喋不休的论战以及为现代书法不断地正名上了。话语的表面繁荣愈衬出创作的苍白和幼稚,现代书法由此堕入一个创作和话语的悖论。这一现象在现代书法走过的第一个十年时达到极致。此 Chinese modern calligraphy has gone through nearly 20 years of history, which is a good time to reflect on and summary. An indisputable fact is that in the past two decades, various discourses on modern calligraphy have far exceeded the impression and impact of the work. After the first wave of “the Eighth Five-Year Plan”, the warriors engaged in modern calligraphy concentrated their energies more on blatant controversies with people who were bitter about modern calligraphy and on the ongoing renunciation of modern calligraphy. The more prosperous surface of discourse is the pale and childish creation, and the modern calligraphy falls into a paradox of creation and discourse. This phenomenon culminated in the first decade of modern calligraphy. this