书法艺术的文化生态形式由以下几个层次组成：(1)文字语义层；(2)笔墨外形层(点画仪态、结构样式)；(3)墨象层(筋骨肉血、精神气质)；(4)历史文化层(性情道德伦理

The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic layer of characters; (2) Pen and ink appearance layer (dot drawing posture, structural style); (3) Ink like layer (muscles, flesh, blood, spiritual temperament); (4) Historical and cultural layers (temperament, morality, and ethics)

文字语义层：严格说来这一层次是非书法的，支持它的是文字的“原始语言功能”——传达思想，表达意志。但在书法文人化过程中，文字的内容，已成为代表书法艺术主体的“文人书法”的不可分割的一部分；从创作角度说，书家“露顶据胡床”、“须臾扫尽数千张”，是因为有感而发；从欣赏者角度说，拥有“阅读快乐”的书法欣赏与没有阅读快乐的书法欣赏，其审美冲击强度与感受深度是有差异的。按照传统文化给书法艺术确定的整体定位——抒情、达性、修身、教化，语义层应该是书法艺术有机构成的一部分；缺少了它，书法艺术的完整性将受到伤害。因此，我们把“语义层”作为书法艺术生态形式的基础层。

Semantic level of writing: Strictly speaking, this level is non calligraphic, supported by the "primitive language function" of writing - conveying ideas and expressing will. But in the process of literatiization of calligraphy, the content of characters has become an inseparable part of "literati calligraphy" representing the main body of calligraphy art; From a creative perspective, the calligraphers "sticking to the Hu bed with their heads exposed" and "sweeping thousands of sheets in an instant" are inspired by their emotions; From the perspective of the viewer, there is a difference in the intensity and depth of aesthetic impact between calligraphy appreciation with "reading pleasure" and calligraphy appreciation without reading pleasure. According to the overall positioning of calligraphy art determined by traditional culture - lyricism, expressiveness, self-cultivation, and education, the semantic layer should be an organic part of calligraphy art; Without it, the integrity of calligraphy art will be compromised. Therefore, we regard the "semantic layer" as the fundamental layer of the ecological form of calligraphy art.

“笔墨外形层”是“物质”书法的开始。任何书法的形象都需以点画线条来构筑。不同的点画形态，具有不同的形状(外轮廓线)、质地(笔意墨韵)，而且每一个点画都有其固定形式；汉字自身所具有的整体感和视觉心理反应中的“完形意识”以及字义层的“辨读吸引”，都赋予书法汉字以完整统一的“形体感”。这是一个装载力量、性情、自然、伦理的黑色“书法外壳”。书法的“体”——字体、书体，就在这一层面划开畛域。

The "brush and ink outer layer" is the beginning of "material" calligraphy. The image of any calligraphy needs to be constructed with dotted lines. Different forms of dots have different shapes (outer contours) and textures (brushwork and ink rhyme), and each dot has its own fixed form; The overall sense of Chinese characters themselves, the "gestalt consciousness" in visual psychological reactions, and the "discriminative reading attraction" in the semantic layer all endow calligraphy Chinese characters with a complete and unified "form sense". This is a black "calligraphy shell" that carries strength, temperament, nature, and ethics. The "body" of calligraphy - font and calligraphy style - delineates boundaries at this level.

“墨象层”是书法由“物质”向“文化”、由“技”向“道”、由无我的“纯客观”之境向“物我交融”的有我之境转化的过渡带；它是笔墨外形层在欣赏者心灵中形成的一种综合影象。“象”为“形”之现，它是观察主体对客观对象的一种远距离、大空间、模糊化、整个精神综合把握。在这一层次，笔形墨质因为欣赏主体的主观因素的介入，每一个“小细胞”在思维世界里都获得了“活形式”的意义。书法的笔画、线条，获得了力量感——遒劲、凝重、秀美、古拙，等等；书法的造型，或端庄，或典雅，或奇逸，或奔放，也获得了某种虚幻的“生命”。书法的、汉字，在这个世界里，好像每一个都有独立完整的生命，点画波撇，宛若人的手足，一举手一投足，顾盼有情。这是一个有待欣赏主体实施“再创造”的物质构架，用西方现代美学“接受美学”学派的术语来说，它是一个有待读者把自己投进去的;

The "Ink Elephant Layer" is the transitional zone in which calligraphy transforms from "material" to "culture", from "technique" to "way", and from the selfless "pure objective" realm to the "fusion of things and myself" with a self realm; It is a comprehensive image formed by the outer layer of brush and ink in the viewer's mind. "Xiang" is the manifestation of "form", which is a comprehensive grasp of the objective object by the observing subject in terms of distance, large space, fuzziness, and the entire spirit. At this level, due to the subjective factors of the appreciative subject, every "small cell" in the thinking world gains the meaning of "living form" in the form of brush and ink quality. The strokes and lines of calligraphy gain a sense of power - strength, solemnity, beauty, antiquity, and so on; The form of calligraphy, whether dignified, elegant, peculiar, or unrestrained, has also gained some kind of illusory "life". Calligraphy and Chinese characters, in this world, seem to each have an independent and complete life, like the hands and feet of a person, with every gesture and gesture, looking forward to emotions. This is a material framework that needs to be appreciated for the subject to implement "re creation". In the terminology of the Western modern aesthetic "reception aesthetics" school, it is a framework that requires readers to immerse themselves in;

“历史文化层”是书法艺术生态形式的高层，它突破了书法笔墨形式的桎梏，以书法形式与大干世界运动形式的“形式同构”为突破管道，通过书法特殊创作、鉴赏支化心理认知模式的培养，把大量的非书法内容灌注在书法笔画线条的黑色“隧道”中。

The "historical and cultural layer" is the high-level ecological form of calligraphy art, which breaks through the constraints of calligraphy brush and ink forms. Through the "formal isomorphism" between calligraphy forms and the world movement forms as a breakthrough channel, a large amount of non calligraphy content is infused into the black "tunnel" of calligraphy stroke lines through the cultivation of special calligraphy creation and appreciation support psychological cognitive models.