编者按：美的本质是什么？艺术的审美标准是什么？哲学的研究对象是什么？这是世界文化的核心问题。
上述三个问题是当代美学、艺术学、哲学未弄清楚的问题，也是世界美术史、艺术史、哲学史上都未曾弄清楚的问题，这是个大学问，今天，在东方，在中国，荆楚大地上书法悟道人鲁振汉先生弄懂了，并向世界发声——文化在中国，艺术在中国，哲学在中国，精神在中国。
美的本质是生命运动，艺术的审美标准是生命运动，哲学的研究对象是生命运动，生命运动是宇宙的全部，生命运动是物质和精神的二元统一。
What is the essence of editor's beauty? What is the aesthetic standard of art? What is the object of philosophy? This is the core issue of world culture.
The above three problems are not clearly understood in contemporary aesthetics, art and philosophy, but also in the history of art, art and philosophy in the world. This is a great learning. Today, in the East, in China, and in the land of Jingchu, Mr. Lu Zhenhan, a calligrapher and Taoist, understands them and speaks to the world: Culture in China, art in China, philosophy in China, and essence God is in China.
The essence of beauty is the movement of life. The aesthetic standard of art is the movement of life. The object of philosophy is the movement of life. The movement of life is the whole of the universe. The movement of life is the unity of matter and spirit.
中国书法对世界哲学美学艺术学的意义
--大泽人 鲁振汉
中国文化发端于鬼画符，中国易经发端于鬼画符。中国哲学发端于鬼画符。中国的道学、中国的艺术均发端于鬼画符。鬼画符实为占卜术。我们的远古祖先在物质文明尚不发达的古代，为了抗拒自然力量，借助于神灵的佑护举行的一种祭祀活动。祈求上天降福。鬼画符便产生了。这便是一般凡人看不懂的上天的显灵符号。这些符号由祭祀的巫师在昏昏然无意识的状态下，用朱丹在物器上胡乱涂抹留下的痕迹。据说它传达着上天的旨意和昭示。当然除了巫师的鬼画符以外，还要将这些祭祀活动记录下来，刻在易于保存的甲骨之上。当然这种刻画是不能称之为鬼画符的，而鬼画符什么时候引申为对那些胡涂乱抹的书写者的贬称，却无从考查。记得有一句俗称“写字不规格，神仙认不得”同是这般意义。
这就是说人类文明的起源就是从这些上古时期的占卜活动开始。又可以说中国的书法艺术的起源也是从这里开始，从鬼画符到象形文字到甲骨、金文及篆、隶、楷、行、草以及书法从实用到艺术。中国文字自古都是神明的代言者。文化成了我们先民的唯一精神寄托。河图洛书的出现又无一不是上天的昭示。当然这是除去了我们先民在创造有记载文明之前漫长的进化过程，正如马克思所说“劳动创造了人本身”。他们要生存，要从事实践活动和劳动创造，要均匀分配劳动果实、劳动使用工具，劳动语言交流。画画以记事、结绳、堆石以计数，更是人类从猿到人自始至终一个漫长的发展过程。
河图洛书的出现，说明当时的华夏文明已进入高智能阶段，先民对点线的认识已不是一般意义的认识。他们早已摸索出了自然界点、线、面、体的联系及时空的变化规律。中国古老的变易学开始诞生。中国哲学开始诞生。夏有《连山》商有《归藏》，周有《周易》，无一不是对世间万事万物变化规律的论述。这些规律的研究在春秋战国时期便达到登峰造极的地步。这就是老子、庄子、孔子关于“道”的学说。老子的出世哲学“无为”、庄子的艺术哲学“天地有大美而不言”、孔子的入世哲学“天地人合一”等等都揭示了“爱”是世界的本质，揭示了宇宙精神的永恒。在这一时期印度释迦牟尼的佛教出现了，实质上中国老子、庄子、孔子关于“道”的学说。后来发展成为道教、儒教。同释迦牟尼的佛教其精神实质是一致的。我曾写过一幅作品“道佛同心”，其意义正在这里。释迦牟尼的“八圣道”讲的就是悟道的过程和境界，同样揭示了爱是世界的本质、宇宙精神的永恒。中国道学更注重讲“道”是什么，印度的释迦牟尼注重的是“如何悟道”，而让我不能理解的是为何东晋又有法显及唐代玄奘西行取经的事。这是不是“外来的和尚好念经”之说的由来。这是不是中国从外从洋悠久历史的起点。我这里没有对法显和玄奘为东方文化做出的伟大奉献和壮举持否定态度。一是说中国人往往是自己看不起自己，缺少自信；二是说中国压抑人才由来已久。据说玄奘西行是没有得到皇帝批示就自行启程了。这当然是让人遗憾的事。这又让我想起了秦始皇的“焚书坑儒”。秦始皇统一中国，功在千秋，然而“焚书坑儒”算不算错误。今天看来是一定的。就是我们今天看待其他伟人那样，都是人，都超不出人所局限的一面。“焚书坑儒仅仅是对儒家学说而言吗？我想老子、庄子的学说不应在其列。儒家的入世哲学都否定了，老子庄子的出世无为的哲学，我想便是容不得的，全都烧了吧，这又是不是二位长老西行的又一原因。
The significance of Chinese calligraphy to world philosophy, aesthetics and art
--Lu Zhenhan from daze
Chinese culture originated from the ghost pictograph, and the Chinese Yi Jing originated from the ghost pictograph. Chinese philosophy originated from ghost symbols. Both Chinese Daoism and Chinese art originated from ghost symbols. Ghost drawing is actually divination. Our ancient ancestors in the material civilization is not yet developed in ancient times, in order to resist the natural forces, with the help of the gods held a kind of sacrificial activities. Pray for heaven's blessing. The ghost glyph came into being. This is the symbol of heaven that ordinary people can't understand. These symbols are the marks left by the sacrificial wizard daubing the objects with Zhu Dan in a dazed and unconscious state. It is said that it conveys the will and declaration of heaven. Of course, in addition to the wizard's ghost symbols, these sacrificial activities should be recorded and engraved on the oracle bones which are easy to preserve. Of course, this kind of depiction can not be called ghost pictograph, but when it was extended to be a derogatory term for those scribbled writers, it is impossible to examine. I remember that there is a common saying "writing is not standard, immortals can not recognize" with this meaning.
That is to say, the origin of human civilization started from these divination activities in ancient times. It can also be said that the origin of Chinese calligraphy art also starts from here, from ghost symbols to pictographs, to oracle bone inscriptions, gold inscriptions and seal characters, Li, Kai, Xing, Cao, and calligraphy, from practicality to art. Chinese characters have always been the spokesmen of gods since ancient times. Culture has become the only spiritual sustenance of our ancestors. The appearance of Hetu Luoshu is a sign from heaven. Of course, this is to remove the long evolutionary process of our ancestors before the creation of recorded civilization. As Marx said, "labor created man itself.". They want to survive, to engage in practical activities and labor creation, to evenly distribute the fruits of labor, labor tools, labor language exchange. Drawing to remember events, tying ropes, piling stones to count, is a long process from ape to man.
The appearance of Hetu Luoshu shows that the Chinese civilization at that time has entered the stage of high intelligence, and the ancestors' understanding of point and line is not the general understanding. They have already found out the connection of point, line, surface and body in nature and the change law of time and space. The ancient Chinese theory of change began to be born. Chinese philosophy began to emerge. Xia has Lianshan, Shang has Guizang, Zhou has Zhouyi, all of which are expositions on the changing law of everything in the world. The study of these laws reached its peak in the spring and Autumn period and the Warring States period. This is Laozi, Zhuangzi, Confucius on the "Tao" theory. Lao Tzu's philosophy of "Inaction", Zhuangzi's philosophy of art "heaven and earth have great beauty but don't speak", Confucius's philosophy of "heaven, earth and man's unity" reveal that "love" is the essence of the world and the eternal spirit of the universe. In this period, the Buddhism of Sakyamuni appeared in India. In essence, the doctrine of "Tao" was proposed by Laozi, Zhuangzi and Confucius in China. Later it developed into Taoism and Confucianism. The essence of the spirit is consistent with Sakyamuni's Buddhism. I once wrote a piece of work "Tao and Buddha are concentric", which is the meaning here. Sakyamuni's "eight saints" is about the process and realm of enlightenment. It also reveals that love is the essence of the world and the eternal spirit of the universe. Chinese Daoism pays more attention to what "Tao" is, while Sakyamuni of India focuses on "how to understand Taoism". What I can't understand is why there was FA Xian in the Eastern Jin Dynasty and Xuanzang in the Tang Dynasty who traveled westward to get scriptures. Is this the origin of the saying that "foreign monks like to chant sutras". Is this the starting point of China's long history from abroad. I do not hold a negative attitude towards the great contributions and feats made by FA Xian and Xuanzang for the oriental culture. One is that Chinese people often look down on themselves and lack self-confidence; the other is that China has long suppressed talents. It is said that Xuanzang set out on his own without the emperor's instructions. This is, of course, a pity. This reminds me of Qin Shihuang's "burning books and burying Confucianism". Qin Shihuang made great contribution to the unification of China, but "burning books and burying Confucianism" is not a mistake. It seems certain today. It is just like we look at other great men today. They are all human beings, and they are not beyond the limitations of human beings. "Is burning books and burying Confucianism just for Confucianism? I don't think the theories of Laozi and Zhuangzi should not be among them. The Confucian philosophy of entering the world has denied it. I think the philosophy of Laozi Zhuangzi's inaction can't be tolerated. Let's burn them all. Is this another reason why the two elders went to the west.
外国人看中国，称中国哲学是朴素的。说中国古代连一部象样的哲学典籍都没有。然而世上又有哪一部哲学典籍能与中国的易经相提并论，又有哪一部哲学巨典能收世间万类之变化。从入世的天地人的和谐统一到出世的宇宙永恒之本真爱的揭示，而达到哲学的最高境界即老子道德经的确立。这是人类智慧的顶点。印度的释迦牟尼可以印证。然而西方的唯物主义，从物质文明的角度出发以科学技术为权威确立了“世界是物质的”理论。以事实为依据，所谓事实即看得见的“物质”而否定了被他们界定为“唯心主义”的“世界是精神的”理论。强调世界是物质的，先有物质后有精神，物质决定精神。因而唯物主义在事实面前取得了胜利。而唯心主义的那些看不见的精神的东西，皆化为乌有，必然受压制而退出历史舞台。然而唯物主义这个建立在科学技术之上的理论在二十世纪中期和后期，随着科学技术的发展越来越觉得不确定和质疑。牛顿的万有引力，爱因斯坦的相对论，普朗克等人的量子力学都证明“物质”不足以解说世界，更不能解释宇宙，同时提出了“时间和空间的统一”的理论。证实了看得见的事实并不是事实的全部。而中国书法艺术经历了几千年上万年的传承从远古走到今天又印证了爱因斯坦“时间和空间的统一”，中国书法从点线面体到空间到时间的表述。今天已完成了“时间和空间的统一”，从静态的抽象走向动态的抽象。将老子的道学理论，由只可意会不可言传的“精神化”的东西，通过点线布局章法结构在可见的平面空间展现出来。将“精神”的看不见的东西物化为作品，使人看得见摸得着，活灵活现，这正是中国书法艺术的神奇之处。由此可见中国书法不仅仅是一门艺术，更是一门科学，它将中国的道学发扬光大。我曾在生命艺术一文中讲过这样一句话,“无书法便不是中国”，这不是夸大其词，中国书法是文化是艺术更是哲学。我还将中国毛笔定为中国古代发明之首。称毛笔为中华民族之根、中国文化之根、中国艺术之根。那些对熊秉明先生提出的“书法是中国文化核心的核心”还抱有质疑的学者该是一个理直气壮的回答了吧。中国的一切技艺无一与中国书法脱离了干系。追寻其渊源都得从文字中找到证据。那些文字无一不是书法人留下的作品真迹。不象今天的印刷书本以电脑电视媒介的传达。
“世界是物质的，先有物质后有精神，物质决定精神。”这是唯物主义的宇宙观。“世界是精神的，先有精神后有物质，精神决定物质。”这是唯心主义的宇宙观。这是完全对立的两种宇宙观。但有一点值得关注的是不论是唯物主义还是唯心主义，他们却有一个共同点，就是都承认辩证法的“对立统一”规律，说一分为二也好，说阴阳合一也罢，其含义是一样的。“矛盾双方共存既对立又统一”他们都犯了一个最大的错误就是只强调对立却忘记了统一，看得见的是事实，看不见的同样是事实。“世界是物质和精神的统一体。”看得见的是作为物质存在的形式，俗称“形”。看不见的是物质的外形所包裹的内质，精神和能量俗称“神”。这不是天神和鬼神，而是心性的情和性，更确切地说“世界是生命的，生命是运动的”这才是“时间空间的统一”。世间任何事物都是一个生命体，动物植物有机物和无机物都是一样，只是生命的存在形式不同罢了。科学家把动物的眼的进化就追索到了单细胞认为单细胞动物已能感受光的作用，任何物质都有磁场，都有能量都能放射出电子，发放出能量。任何物质都能进行物理反应和化学反应。当然这些都是科学研究的结论。然而中国古代的圣哲以天地人的和谐统一的思维与几千年后科学家的研究却如出一辙。这就印证了中国智慧的博大精深，中国书法又是这一智慧的源泉。我为中国先圣们叫绝！我为中国书法艺术叫绝！为什么说“世界上的智慧在中国人的脑袋里”，我似乎在这里找到了答案。
When foreigners look at China, they call Chinese philosophy simple. It is said that in ancient China there was not even a decent philosophical book. However, which philosophical classics in the world can be compared with the book of changes in China, and which philosophical great classics can absorb the changes of all kinds in the world. From the harmonious unity of heaven, earth and man to the revelation of the eternal true love of the universe, the highest level of philosophy is the establishment of Laozi's Tao Te Ching. This is the culmination of human wisdom. Sakyamuni of India can testify. However, Western materialism, from the perspective of material civilization, established the theory of "the world is material" with the authority of science and technology. Based on the fact, the so-called fact is the visible "material", which denies the theory that the world is spiritual, which is defined as "idealism". It emphasizes that the world is material, there is material before spirit, and material determines spirit. Therefore, materialism has won the victory in the face of facts. However, the unseen spiritual things of idealism have disappeared and will inevitably be suppressed and withdrawn from the stage of history. However, with the development of science and technology, materialism, as a theory based on science and technology, felt more and more uncertain and questioned in the middle and late 20th century. Newton's gravitation, Einstein's theory of relativity, Planck's quantum mechanics have proved that "matter" is not enough to explain the world, let alone the universe, and put forward the theory of "the unity of time and space". It proves that the visible facts are not all the facts. The Chinese calligraphy art has experienced thousands of years of inheritance, from ancient times to today has confirmed Einstein's "unity of time and space", Chinese calligraphy from point line surface to space to time expression. Today, we have completed the "unity of time and space", from static abstraction to dynamic abstraction. Lao Tzu's Taoist theory is shown in the visible plane space through the point line layout structure, which can only be understood but can't be explained. The magic of Chinese calligraphy is to materialize the invisible things of "spirit" into works, so that people can see, touch and vividly present them. It can be seen that Chinese calligraphy is not only an art, but also a science. It will carry forward Chinese Taoism. I once said such a sentence in the art of life: "without calligraphy, China is not China". This is not exaggeration. Chinese calligraphy is culture, art and philosophy. I also named Chinese brush as the first invention in ancient China. It is called the root of Chinese nation, Chinese culture and Chinese art. Those scholars who still have doubts about Xiong Bingming's proposition that "calligraphy is the core of Chinese culture" should be a reasonable answer. None of the Chinese arts and crafts is divorced from Chinese calligraphy. To trace its origin, we have to find evidence from the text. None of those words are authentic works left by calligraphers. Unlike today's printed books, they are conveyed in the media of computer and television.
"The world is material. First there is material, then there is spirit, and material determines spirit." This is a materialistic view of the universe. "The world is spiritual. There is spirit first and then material, and spirit determines material." This is an idealistic view of the universe. These are two totally opposite views of the universe. However, one thing worth paying attention to is that both materialism and idealism have one thing in common, that is, they all recognize the law of "unity of opposites" in dialectics. Whether one is divided into two or yin and yang are integrated, their meanings are the same. "The coexistence of the two sides of the contradiction is both opposite and unified." they all made the biggest mistake, that is, they only emphasize the opposition but forget the unity. What can be seen is the fact, and what can not be seen is the same fact. "The world is a unity of matter and spirit." What can be seen is the form of material existence, commonly known as "shape". What is invisible is the inner substance, spirit and energy wrapped in the shape of matter, commonly known as "God". This is not the gods and ghosts, but the feelings and nature of the heart. To be more precise, "the world is life, life is moving." this is the "unity of time and space". Everything in the world is a living body, animals and plants, organic matter and inorganic matter are the same, but the existence form of life is different. Scientists trace the evolution of the eyes of animals to single cells. They think that single celled animals have been able to feel the effect of light. Any substance has a magnetic field and has energy. It can emit electrons and emit energy. Any substance can carry out physical and chemical reactions. Of course, these are the conclusions of scientific research. However, the ancient sages of China, with the thought of harmony and unity of heaven, earth and man, are the same as those of scientists thousands of years later. This proves that Chinese wisdom is broad and profound, and Chinese calligraphy is the source of this wisdom. I'm in awe of the Chinese sages! I am awed by the art of Chinese calligraphy! Why to say "the wisdom of the world is in the head of Chinese people", I seem to find the answer here.
世界上有好多种技艺，然中国书法艺术达到的高度是世界上任何艺术都不可比拟的。西方人将世间所有艺术分为两大类：一是时间艺术，一为空间艺术，而世界多种艺术都只有一个属类，要么属于时间类要么属于空间类。然唯独中国的书法艺术同时具备两种类型，既有时间又有空间的同时表述，并达到时空的完美统一，仅靠一支笔在一张平面的纸上任意构成立体的生命运动，创造生命运动，这几乎是人间奇迹，这是当今科学无法解释的。
在西方美学史上，对美的本质问题也争论了两三千年，至今也没有一个实质性的结论。古希腊的哲学家柏拉图认为美的本质是“美的理念”。柏拉图的弟子亚里士多德认为是“美的主要形式”。普罗丁认为是“神的理性”。文艺复兴时期法国哲学家狄德罗提出了“美的关系”。美国哲学家休谟认为“美是一种主观愉快”；德国哲学家康德认为“美本身只涉及形式”；黑格尔认为“美的理念的感性显现”；克罗齐认为“美即直觉即表现”。车尔尼雪夫斯基认为“美是生活”。之所以西方哲学家对美的本质始终争论不休，而没有定论其根本原因就是唯物主义和唯心主义的一元论争，把主观和客观对立起来。美学的根本问题实质上也是哲学的根本问题。世界观的问题不解决，美学根本问题当然就无法解决。所以唯物主义和唯心主义各执一面，谁也征服不了谁，这就是人类历史上物质和精神的论争，实在是没完没了。
唯物主义和唯心主义的论争说到底是一个境界问题。不论是唯物主义还是唯心主义都没有能达到道的高度。这个高度实质上就是哲学的最高境界，只有达到这个境界才能认识“世界是物质的，同时是精神的。没有孰先孰后，没有谁决定谁”这样一个真理。更不能觉察这个世界由生命运动构成他所体现的是爱，是二元，这才是世界的本质，这是任何学说都不能否定的真理。是放之四海而皆准的理论。这种道学理论没有必要强加于人，谁拥有这个真理，谁就拥有世界。地球围绕太阳旋转，月亮围绕地球旋转那是能量所致，是爱所致。太阳把光和热无私的施予地球，和母亲把爱无私地施予孩子以及所有动物对幼崽的爱护没有二致。人之所以能从猿进化到人，而与其它动物相区别，就在于人能将世间存在的母爱延伸，使人类由母系氏族向父系氏族过渡，并进化到今天的高智商的人类，这都是爱的结果，这就是孔子所说的“仁”，然而今天人类社会发展到高级阶段其爱却如此失落，那是因为人们在物质文明的追求中，物质的占有欲开始膨胀，精神也因此失落，所以物质文明越发达则我们会离真理越远，几乎是背道而驰。西方物质文明是以牺牲精神文明为代价的，所以我曾经说过：“我们仰望的是西方的物质文明，然在精神文明方面不是东方仰望西方，而是西方仰望东方仰望中国。”这是铁的事实。
There are many kinds of skills in the world, but the height of Chinese calligraphy art is incomparable to any other art in the world. Westerners divide all the Arts in the world into two categories: one is time art, the other is space art. However, there is only one category of art in the world, either in time or in space. However, only Chinese calligraphy art has two types at the same time, both time and space are expressed at the same time, and achieve the perfect unity of time and space. It is almost a miracle in the world that only a pen can arbitrarily form a three-dimensional life movement on a flat paper and create life movement. This is almost a miracle in the world, which can not be explained by today's science.
In the history of western aesthetics, the essence of beauty has been debated for two or three thousand years, and there is no substantive conclusion. Plato, the ancient Greek philosopher, believed that the essence of beauty was "the idea of beauty". Aristotle, a disciple of Plato, believed that it was "the main form of beauty". Prodin thought it was "God's reason". During the Renaissance, French philosopher Diderot put forward "the relationship of beauty". Hume, an American philosopher, thinks that "beauty is a subjective pleasure"; Kant, a German philosopher, thinks that "beauty itself only involves form"; Hegel thinks that "the perceptual manifestation of the idea of beauty"; and Croce thinks that "beauty is intuition and expression". Chernychevsky believes that "beauty is life". The fundamental reason why Western philosophers have been arguing about the essence of beauty is the unitary argument between materialism and idealism, which opposes subjectivity and objectivity. In essence, the fundamental problem of aesthetics is also the fundamental problem of philosophy. If the problem of world outlook is not solved, the fundamental problem of aesthetics cannot be solved. Therefore, materialism and idealism hold each other's sides, and no one can conquer anyone. This is the argument between material and spiritual in human history, which is endless.
The debate between materialism and idealism is, in the final analysis, a matter of realm. Neither materialism nor idealism can reach the height of Tao. This height is essentially the highest level of philosophy. Only when we reach this level can we realize that "the world is material and spiritual at the same time. There is no such truth as "which comes first, and no one decides who". What's more, he can't realize that the world is composed of life movement. What he embodies is love and duality. This is the essence of the world, which is a truth that no theory can deny. It's a universal theory. There is no need to impose this kind of Taoist theory on others. Whoever has this truth will have the world. The earth revolves around the sun, and the moon revolves around the earth, which is caused by energy and love. The sun's unselfish light and heat to the earth is the same as the mother's unselfish love to her children and the love of all animals for their young. The reason why man can evolve from ape to man is that man can extend the maternal love existing in the world, so that human beings can transition from matriarchal clan to paternal clan, and evolve into today's highly intelligent human beings. All of these are the results of love, which is what Confucius called "benevolence". However, today's human society has developed to an advanced stage, its love is so lost because of human beings In the pursuit of material civilization, the material possessive desire begins to expand, and the spirit is also lost. Therefore, the more developed the material civilization, the farther away we will be from the truth, almost in the opposite direction. Western material civilization is at the expense of spiritual civilization, so I once said: "we look to the western material civilization, but in terms of spiritual civilization, it is not the east looking up to the west, but the west looking to the East and looking to China." It's the truth.
既然“世界是生命的，生命是运动的。”生命运动是世界之本，那么美的本质又是什么呢？那就是爱，是对生命运动现象的热爱，是母亲对孩子这种无私无欲的爱的延伸。由对孩子的爱延伸至对自然世界的爱，爱并不是物质世界本身具有的，它是人加于物质自然的一种爱的情感，是精神的东西，这种精神世界的情感与自然物质的结合，这就是西方人所说的主观与客观的融合，从而美就呈现出来了。为什么西方人总说不清呢，就是西方人往往都将主观和客观对立起来，形成二元对立的世界观，这和物质和精神的对立是一样的，这正是西方人对美的本质永远说不清道不明的根本原因所在。这正说明哲学的本质问题也是美学的根本问题，同样是艺术的根本问题，之所以西方艺术同中国书法艺术有不可比拟的差别，因为西方艺术还局限在物质的层面，形的层面，具象的模仿自然，实质上是技的层面，而没能进入精神层面艺的层面。又不能抽象的再造第二自然。一个精神的自然。正因为中国书法艺术到达了哲学的最高境界，与道相通，这是当今世界任何艺术所达不到的高度。俄国作家托尔斯泰曾经说过，“一个艺术家要创造出伟大的作品，就必须处于他那个时代最高的世界观水平。”
这正是西方艺术在经历了意大利文艺复兴之后走到了具象的尽头，开始向中国学习抽象，从中国书法中吸取营养的根本原因。
二十一世纪是中国书法的世纪，是“道”文化的世纪。中国书法将中国老子、庄子、孔子的道学延伸并将“道”这个“只可意会不可言传”的精神境界的原理用物化的形式显现在作品之中。书尽阴阳写尽环宇写尽天地人，概括为四个字“生命运动”其核心为“爱”。这爱乃宇宙之根本故曰大爱，不悟大爱无以言道，对“知道不言道，言道不知道”之说作了终结，并重申“道”是精神的最高境界是哲学的最高境界，并确立道学在世界一切领域的指导作用。
艺术家科学家伟人哲人的最高层次均在悟道。不然只能停留在技术的层面、知识的层面，这是一般层次。爱因斯坦之所以成就伟大，是因为他发现了“时间和空间统一”的理论，这与“生命运动”实为一说，只可惜他没能悟出大爱，这是研究物质所限，受实践所限，所以他在空间和时间之后还加了一个“引力”，实质上“时间和空间的统一”本身就包含了引力。“大爱”和“引力”只一纸之隔，我曾经说过“爱是世间乃至宇宙间最大的能量”，然而物质和精神的一纸之隔却好如地球和太阳那么遥远，可见技与道相隔是多么遥远。
鲁振汉于2009年
Since "the world is life, life is moving." Life movement is the foundation of the world, so what is the essence of beauty? That is love, is the love of life movement phenomenon, is the extension of mother's selfless love for children. From the love of children to the love of the natural world, love is not possessed by the material world itself. It is a kind of love emotion added by human beings to the material nature. It is a spiritual thing. The combination of the emotion of the spiritual world and the natural material is what Westerners call the integration of subjective and objective, thus the beauty is presented. Why can't Westerners always say it clearly? That is, Westerners tend to oppose the subjective and the objective, forming a dualistic world outlook, which is the same as the opposition of material and spirit. This is the fundamental reason why Westerners never know the essence of beauty. This shows that the essence of philosophy is also the fundamental problem of aesthetics, and also the fundamental problem of art. The reason why Western art is incomparable with Chinese calligraphy art is that western art is still limited to the material level, the form level, the concrete imitation of nature, the technical level in essence, and the spiritual level of art. We can't recreate the second nature abstractly. A spiritual nature. It is precisely because Chinese calligraphy art has reached the highest level of philosophy and is connected with Tao, which is a height that no art in the world can reach today. Tolstoy, a Russian writer, once said, "if an artist wants to create a great work, he must be at the highest level of world outlook of his time."
This is the fundamental reason why Western art, after experiencing the Italian Renaissance, came to the end of representativeness and began to learn abstract from China and absorb nutrition from Chinese calligraphy.
The 21st century is the century of Chinese calligraphy and "Tao" culture. Chinese calligraphy extends the Daoism of Laozi, Zhuangzi and Confucius, and shows the principle of "Tao", which is the spiritual realm of "only can be understood but can not be explained" in the form of materialization. It can be summarized as four words "Life Movement", the core of which is "love". This love is the foundation of the universe, so it is called great love. If you don't understand great love, you can't say Tao. It ends the saying that "knowing does not speak the word, saying the word does not know". It also affirms that "Tao" is the highest realm of spirit and philosophy, and establishes the guiding role of Taoism in all fields of the world.
Artists, scientists, great men and philosophers are all at the highest level of enlightenment. Otherwise, we can only stay at the level of technology and knowledge, which is the general level. Einstein made great achievements because he discovered the theory of "the unity of time and space", which is the same as "the movement of life". Unfortunately, he failed to realize great love, which is limited by the study of matter and practice. Therefore, he added a "gravity" after space and time. In essence, the "unity of time and space" itself contains gravity. There is only one paper between "great love" and "gravitation". I once said that "love is the greatest energy in the world and even in the universe". However, the paper gap between matter and spirit is as far away as the earth and the sun. It can be seen how far away technology is from Tao.
In 2009, Lu Zhenhan
鲁振汉，1955年出生于湖北武汉，字晓钟，号大泽人。中国书画函授大学研究生，中国国家博物馆画廊客座教授，中国书法艺术研究院特聘教授，东方艺术研究院名誉院长，南京长江书画艺术研究院名誉院长，中国王十朋研究会高级哲学顾问。
鲁振汉从事书法研究、书法创作、书法教学三十余年。对中国文化、中国书法艺术的贡献是卓越的，是中国当代的哲学大家、美学大家、书法大家、是中国书法悟道第一人。
2004年被收入美英编辑出版的世界名人录，并接受聘请担任香港世界名人之都执行主席助理，现正致力于将中国书法推向全世界。请关注：百度网，鲁振汉书法工作室。
Lu Zhenhan, born in 1955 in Wuhan, Hubei Province, was born in Xiaozhong and daze. He is a postgraduate of Chinese calligraphy and painting correspondence university, visiting professor of National Museum of China Gallery, distinguished professor of Chinese Calligraphy Art Research Institute, honorary president of Oriental Art Research Institute, honorary president of Nanjing Yangtze River calligraphy and painting art research institute, and senior philosophy consultant of China Wang Shipeng Research Association.
Lu Zhenhan has been engaged in calligraphy research, calligraphy creation and calligraphy teaching for more than 30 years. He has made outstanding contributions to Chinese culture and Chinese calligraphy art. He is a great master of philosophy, aesthetics and calligraphy in contemporary China, and is the first person to understand the Tao in Chinese calligraphy.
In 2004, he was included in the world's who list edited and published by the United States and Britain, and was invited to be the executive chairman's assistant of the city of world celebrities in Hong Kong. Please pay attention to: baidu.com, Lu Zhenhan calligraphy studio.
鲁振汉作品赏析
书法研究成果：
一、破译中国智慧之谜
2001年第一次提出“中国智慧出于中国汉字和中国书法”。
2001年第一次提出“中国书法是哲学的艺术”
2004年著有书学论著《大泽秘籍》。
二、破译中国书法万古之谜
2001年第一次提出“无书法便不是中国”
2001年第一次提出“毛笔是中华文明之根、中华民族之根、中国艺术之根”。
2001年第一次提出“极限书法”理论。2001年第一次提出“中华文明史是万年文明史，远远超过五千年，应追索到河洛文明时期，或更早的结绳计时时期”在其论文《让世界聆听中国的声音》一文中已论述(中国文联杂志《中国艺苑》第七期发表)
三、奇迹般地揭开了代表中华远古文明的“河图”“洛书”的神秘面纱，使中国的无字天书得以破译，荆楚大地鲁氏河洛重见天日。
书法教学成果：
创立“魔笔30”速成教学法为学校和社会培养书法新秀四千余人，受到社会各界的普遍称赞并接受中外文化交流杂志的专访(访谈录发布于2011年第10期）
Calligraphy research results:
1、 Decipher the mystery of Chinese wisdom
It was first proposed in 2001 that "Chinese wisdom comes from Chinese characters and Chinese calligraphy".
"Chinese calligraphy is the art of philosophy" was put forward for the first time in 2001
In 2004, he wrote "daze secret book" on Book Science.
2、 Decipher the eternal mystery of Chinese Calligraphy
It was first proposed in 2001 that "without calligraphy, China is not China"
In 2001, it was proposed for the first time that "brush is the root of Chinese civilization, Chinese nation and Chinese art".
The theory of "extreme calligraphy" was first put forward in 2001. In 2001, he proposed for the first time that "the history of Chinese civilization is a history of ten thousand years of civilization, which is far more than 5000 years, and should be traced back to the Heluo civilization period, or the earlier time of tying ropes and timing", which was discussed in his paper "let the world listen to the voice of China" (the 7th issue of China Art Garden, a magazine of China Federation of literary and art circles)
3、 Miraculously, the mysterious veil of "Hetu" and "Luoshu" representing ancient Chinese civilization has been opened, and the wordless Tianshu of China has been deciphered, and Lu's Heluo in the land of Jingchu can be seen again.
Calligraphy teaching achievements:
He founded the "magic pen 30" rapid teaching method to cultivate more than 4000 new calligraphers for the school and the society. He was widely praised by all walks of life in the society and accepted an exclusive interview with the Chinese and foreign cultural exchange magazine (the interview was published in the 10th issue of 2011)
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