The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic level of characters; (2) Brush and ink appearance layer (stippling appearance, structural style); (3) Ink image layer (flesh and blood, spirit and temperament); (4) Historical and cultural level (temperament, morality and ethics).

文字語義層：嚴格說來這一層次是非書法的，支持它的是文字的“原始語言功能”——傳達思想，表達意志。但在書法文人化過程中，文字的內容，已成為代表書法藝術主體的“文人書法”的不可分割的一部分；從創作角度說，書家“露頂據胡床”(李頎贈張旭詩)、“須臾掃盡數千張”（李白贈懷素詩)，是因為有感而發；從欣賞者角度說，擁有“閱讀快樂”的書法欣賞與沒有閱讀快樂的書法欣賞(如張懷瓘所說“惟觀神采”)，其審美沖擊強度與感受深度是有差異的。按照傳統文化給書法藝術確定的整體定位——抒情、達性、修身、教化，語義層應該是書法藝術有機構成的一部分；缺少了它，書法藝術的完整性將受到傷害。因此，我們把“語義層”作為書法藝術生態形式的基礎層。

Semantic level of characters: strictly speaking, this level is non-calligraphic. What supports it is the "primitive language function" of characters - conveying ideas and expressing will. However, in the process of literati calligraphy, the content of characters has become an integral part of "literati calligraphy", which represents the main body of calligraphy art; From the point of view of creation, the calligraphers "exposed the top according to the Hu bed" (Li Qi gave Zhang Xu poems) and "swept thousands of pieces in a second" (Li Bai gave Huai Su poems) because of their feelings; From the perspective of the admirer, there is a difference between the appreciation of calligraphy with "happy reading" and the appreciation of calligraphy without reading pleasure (such as Zhang Huaiguan's "only looking at the beauty"), the intensity of aesthetic impact and the depth of feeling are different. According to the overall positioning of Chinese traditional culture for the art of calligraphy - lyricism, expressiveness, self-cultivation and enlightenment, the semantic level should be an organic part of the art of calligraphy; Without it, the integrity of calligraphy will be damaged. Therefore, we take the "semantic level" as the basic level of the ecological form of calligraphy art.

“筆墨外形層”是“物質”書法的開始。任何書法的形象都需以點畫線條來構筑。不同的點畫形態，具有不同的形狀(外輪廓線)、質地(筆意墨韻)，而且每一個點畫都有其固定形式；漢字自身所具有的整體感和視覺心理反應中的“完形意識”以及字義層的“辨讀吸引”，都賦予書法漢字以完整統一的“形體感”。這是一個裝載力量、性情、自然、倫理的黑色“書法外殼”。書法的“體”——字體、書體，就在這一層面劃開畛域。

The "shape layer of brush and ink" is the beginning of "material" calligraphy. The image of any calligraphy needs to be constructed by stippling lines. Different forms of stippling have different shapes (contour lines) and textures (strokes and ink rhymes), and each stippling has its own fixed form; The overall sense of the Chinese character itself, the "gestalt consciousness" in the visual psychological reaction and the "discrimination and attraction" in the meaning layer all endow the calligraphic Chinese character with a complete and unified "form sense". This is a black "calligraphy shell" with strength, temperament, nature and ethics. The "style" of calligraphy - font and calligraphic style - is demarcated at this level.

“墨象層”是書法由“物質”向“文化”、由“技”向“道”、由無我的“純客觀”之境向“物我交融”的有我之境轉化的過渡帶；它是筆墨外形層在欣賞者心靈中形成的一種綜合影象。“象”為“形”之現，它是觀察主體對客觀對象的一種遠距離、大空間、模糊化、整個精神綜合把握。在這一層次，筆形墨質因為欣賞主體的主觀因素的介入，每一個“小細胞”在思維世界里都獲得了“活形式”的意義。書法的筆畫、線條，獲得了力量感——遒勁、凝重、秀美、古拙，等等；書法的造型，或端莊，或典雅，或奇逸，或奔放，也獲得了某種虛幻的“生命”。書法的、漢字，在這個世界里，好像每一個都有獨立完整的生命，點畫波撇，宛若人的手足，一舉手一投足，顧盼有情。這是一個有待欣賞主體實施“再創造”的物質構架，用西方現代美學“接受美學”學派的術語來說，它是一個有待讀者把自己投進去的“召喚結構"。

The "ink image layer" is the transition zone of calligraphy from "material" to "culture", from "technology" to "Tao", and from the "pure objective" realm without self to the "blend of things and me"; It is a comprehensive image formed by the shape of the brush and ink in the viewer's mind. "Image" is the appearance of "form", which is the observation subject's comprehensive grasp of the objective object in a long distance, large space, fuzziness and the whole spirit. At this level, due to the subjective factors of the appreciation subject, each "small cell" has acquired the meaning of "living form" in the thinking world. The strokes and lines of calligraphy have gained a sense of strength - strong, dignified, beautiful, ancient, and so on; The shape of calligraphy, either dignified, or elegant, or exotic, or unrestrained, has also obtained some kind of illusory "life". Calligraphy, Chinese characters, in this world, it seems that each has an independent and complete life. The stippling wave is like a person's hands, hands and feet, looking forward to love. This is a material structure that needs to be "recreated" by the subject of appreciation. In the terms of the "reception aesthetics" school of western modern aesthetics, it is a "calling structure" that needs to be put into by readers.

“歷史文化層”是書法藝術生態形式的層，它突破了書法筆墨形式的桎梏，以書法形式與大干世界運動形式的“形式同構”為突破管道，通過書法特殊創作、鑒賞支化心理認知模式的培養，把大量的非書法內容灌注在書法筆畫線條的黑色“隧道”中。

The "historical and cultural level" is the highest level of the ecological form of calligraphy art. It breaks through the shackles of the form of calligraphy and ink, and uses the "form isomorphism" of calligraphy form and the form of the Great Stem World Movement as the breakthrough channel. Through the cultivation of the special creation of calligraphy and the appreciation and support of psychological cognitive mode, a large number of non-calligraphy content is poured into the black "tunnel" of calligraphy and brush lines.

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