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

文字語義層：嚴(yán)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(dá)思想，表達(dá)意志。但在書法文人化過程中，文字的內(nèi)容，已成為代表書法藝術(shù)主體的“文人書法”的不可分割的一部分；從創(chuàng)作角度說，書家“露頂據(jù)胡床”(李頎贈張旭詩)、“須臾掃盡數(shù)千張”（李白贈懷素詩)，是因為有感而發(fā)；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(tǒng)文化給書法藝術(shù)確定的整體定位——抒情、達(dá)性、修身、教化，語義層應(yīng)該是書法藝術(shù)有機構(gòu)成的一部分；缺少了它，書法藝術(shù)的完整性將受到傷害。因此，我們把“語義層”作為書法藝術(shù)生態(tài)形式的基礎(chǔ)層。

Semantic level of writing: Strictly speaking, this level is non calligraphic, supported by the "primitive language function" of writing - conveying ideas and expressing will. However, in the process of literatiization of calligraphy, the content of characters has become an inseparable part of the "literati calligraphy" that represents the main body of calligraphy art; From a creative perspective, the calligraphers' "sticking to the Hu bed with exposed roofs" (Li Qi's poem to Zhang Xu) and "sweeping thousands of pieces in an instant" (Li Bai's poem to Huai Su) are inspired by their emotions; From the perspective of the admirer, there is a difference in the intensity of aesthetic impact and depth of perception between calligraphy appreciation with "reading pleasure" and calligraphy appreciation without reading pleasure (as Zhang Huaiguan said, "only observing one's appearance"). According to the overall positioning of traditional Chinese culture for calligraphy art - lyricism, expressiveness, self-cultivation, and education, the semantic layer should be an organic component 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.

“筆墨外形層”是“物質(zhì)”書法的開始。任何書法的形象都需以點畫線條來構(gòu)筑。不同的點畫形態(tài)，具有不同的形狀(外輪廓線)、質(zhì)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(yīng)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(tǒng)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 "brush and ink appearance layer" is the beginning of "material" calligraphy. The image of any calligraphy needs to be constructed with dotted lines. Different forms of stippling have different shapes (outer contours), textures (brushwork and ink rhyme), and each stippling 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 - delimits boundaries at this level.

“墨象層”是書法由“物質(zhì)”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(zhuǎn)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(xiàn)，它是觀察主體對客觀對象的一種遠(yuǎn)距離、大空間、模糊化、整個精神綜合把握。

The "Ink Image Layer" is a transitional zone in calligraphy from "material" to "culture", from "technique" to "Dao", and from the "pure objective" realm without self to the "fusion of things and me" realm with self; It is a comprehensive image formed by the outer layer of pen and ink in the viewer's mind. The "image" is the manifestation of the "form", which is a long-distance, large space, blurring, and comprehensive grasp of the entire spirit of the observer towards the objective object.

在這一層次，筆形墨質(zhì)因為欣賞主體的主觀因素的介入，每一個“小細(xì)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”。

At this level, due to the subjective factors of the appreciative subject, each "small cell" gains the meaning of "living form" in the world of thinking. The strokes and lines of calligraphy gain a sense of strength - strength, solemnity, beauty, antiquity, and so on; The shape of calligraphy, whether dignified, elegant, peculiar, or unrestrained, has also gained some kind of illusory 'life'.

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(chuàng)造”的物質(zhì)構(gòu)架，用西方現(xiàn)代美學(xué)“接受美學(xué)”學(xué)派的術(shù)語來說，它是一個有待讀者把自己投進(jìn)去的“召喚結(jié)構(gòu)"。

Calligraphy and Chinese characters, in this world, seem to each have an independent and complete life. The strokes and strokes are like the hands and feet of a person, with every move and gesture, looking forward to love. This is a material framework that requires the subject to be appreciated to implement "re creation". In the terminology of the Western modern aesthetic "reception aesthetics" school, it is a "summoning structure" that requires readers to immerse themselves in.