无疑，在邱振中的身上，彰显的是中国书法美学现代性激进与折衷的两幅面孔。
No doubt, in QIU Zhen-zhong appear the two radical and compromising faces of the aesthetic modernity of Chinese calligraphy.
本文尝试从另外一种角度，即禅宗美学的特质和中国书法艺术的内在理路的相通之处去研究。
This article attempts to understand it from another angle, namely from the intrinsic logic of the special characteristic of the Dhyana esthetics and the Chinese calligraphy art.
本文参考文献：1、中国古典山水画美学侧记，2、三谈破体书法，3、中国书画。
This article References: 1, Chinese classical landscape Sidelights, 2, 3 on nicely, 3, Chinese calligraphy and painting.
中国书法使画面的美学和谐感更为复杂，背景文字的扩展，让水滴带有科学技术的徵象。
The Chinese calligraphy complicates his aesthetic harmony, offering a highly technological and scientific characteristic of water by magnifying the lettered background.
中国书法使画面的美学和谐感更为复杂，背景文字的扩展，让水滴带有科学技术的徵象。
The Chinese calligraphy complicates his aesthetic harmony, offering a highly technological and scientific characteristic of water by magnifying the lettered background.
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