“巧”与“拙”涉及到的是审美范畴的问题。不同时期，不同的人，一个人不同阶段时于美所持的标准都有差异，有时这个差异还很大。书法的审美也是如此。
"Qiao" and "clumsy" are related to the aesthetic category. Different times, different people, a person at different stages of the United States hold different standards, and sometimes this difference is very large. The aesthetic of calligraphy is also the same.
“巧”是相对“拙”来说的，看待巧的问题，应该从两个角度切入：
"Qiao" is relatively "awkward", and it should be cut in from two points of view:
第一，从技术层面上讲。
First, from the technical level.
刘熙载在《艺概·书概》中讲道：“学书者始由不工求工，继由工求不工。不工者，工之极也。”《庄子·山水篇》曰：“既雕既琢，复归于朴。善夫。”也就是说， 学书是有一个过程的，首先要求学书者要有相当精熟的技法，精熟的技法是书法创作的基础，就是“工夫”。但需要注意的是不能视技法为目的，因为技法不只是艺 术本身。佛语说“登岸弃舟”，要到达彼岸，无船恐怕是不行的，而视技法为目的者是不想登岸的。这就如王镛先生在其印作“不阿世”的边款上刻的一样：“巧， 艺之大忌也。印亦然。初多喜巧厌拙，或以整齐鲜华为能事，或以无端造作为聪明，皆伤于‘巧’字，若悟心不开，终不免堕于小家气耳。”一句话，“巧”就是卖 弄技法。
Liu Xizai in the "Yi and Shu Gai" in the sermon: "science books started by don't work, followed by work for. No worker, so does work. " "Chuang-tzu landscape article" said: "both carvings, return to the park. Good husband. " That is to say, learning books is a process. First, we need to learn from books. We must have quite skilled techniques. The skill is the foundation of calligraphy creation, that is "hard work". But what needs to be noted is that skills cannot be regarded as the purpose, because the technique is not only the art itself. Buddha said: "abandoning the boat landing, to reach the other side, no ship is probably not enough, and techniques for the purpose is not to land. This is the same as Mr. Wang Yong in the India "," BianKuan engraved: "clever, art is also the bad news. It is also true. At the beginning of hi Qiao tired Zhuo, or to order fresh HUAWEI capabilities, or to make groundless as clever, is wounded in the 'clever' word, if the enlightenment heart is not open, will inevitably fall into the ear than small gas." In a word, "skillful" is the trick.
第二，从艺术创作的角度讲。
Second, from the angle of artistic creation.
“巧“是一种心态，这种心态反映了书作者一是没有思想，不知道自己要什么，要做什么，依靠一定技能或技能尚不足够的情况下去“追潮流”、“赶时尚”。东倒西歪或 涂涂抹抹，其作品貌似拙，实为巧，不是发自心底的真性情，是他性情，很快就会被“潮流”所淹没；二是有一定的思想，也有相应的技能，但修养不够，放不下， 登上了岸还背负着船，就是“悟心不开”，“无端造作”，为了效果而做形式和装饰设计。这是沽名钓誉者急功近利的一种心态，是“小家气”。
"Ingenious" is a state of mind. This mindset reflects the author's idea that he doesn't know what he wants or what he wants to do, and relies on skills or skills that are not enough enough to catch up with the trend and catch up with fashion. Reel right and left or smearing, his works seem clumsy, it is clever, not from the bottom of my heart is true, he is, will soon be "drowned by the tide"; two is to have certain ideas, also have the corresponding skills, but lack of accomplishment, do not put, boarded the ship shore also saddled with that is "enlightenment heart is not open", "no artificial", in order to effect and form and decoration design. This is a state of mind who is "quick fish for fame, small house gas".
“拙”就不同。它更加指向了书家的一种境界，一种审美的高境界，是人的真情流露，是本质的内在美的体现。
"Clumsy" is different. It is more to a realm of calligraphy, a high aesthetic realm, is the people's true feelings, is the inner beauty of the essence of the.
“拙”作为审美范畴，很早就被提出来了。黄庭坚《论书》中说：“凡书要拙多于巧。”而唐代窦蒙也早对“拙”做过阐释：“拙：不依致巧曰拙。”（《述书赋》）提到 “拙”，通常学书人会想到“稚拙”或“古拙”。“稚拙”是儿童出于天性的本质表现；“古拙”往往是出于实用的一些无意的制作，因材料和时间的关系而形成 的，如历史上遗存下来的大量金石文字，是真实的自然流露。虽然它们可能存在技法上的某种缺陷。但共同的一点是都有自然之趣，少人为痕迹，真率、质朴，这正 是艺术家所追求的关于人的生命本质的最为宝贵的东西。赵之谦曾说：“书家有最高境，古今二人耳。三岁稚子，能见天质；积学大儒，必具神秀，故书以不学书， 不能书者为工。”刘熙载说：“名家贵精，大家贵真。”“大家”以“真”为贵，追求的是“真率”，白石老人所谓“天趣”者。
As an aesthetic category, "clumsy" was put forward very early. Huang Tingjian's book on the book says, "all the books are more awkward than coincidentally." But as early as the Tang Dynasty Dou Meng "clumsy" did explain: "clumsy: not by Qiao Zhuo yue." ("shushufu") referred to "clumsy", usually book people will think of "immature" or "unadorned". "Immature" is the essence of children by nature; "antique" is often not practical for some production, due to the formation of the relationship of material and time and, if a large number of stone text remains in history, is naturally true. Although they may have some defects in the technique. But the common point is a natural interest, less artificial, sincere, simple, this is the most precious thing for artists to pursue on the essence of life. Zhao Zhiqian once said: "there are two ancient calligraphers of the highest state, the human ear. Three year old child, see days; integrated learning Daru, will have to show God, the book book book, not for work." Liu Xizai said, "the famous family is precious, and everyone is expensive." "Everyone" to "true" for you, is the pursuit of "sincerity", the so-called "natural" old Bai Shi.
在书法创作中，“拙”就是“登岸弃舟”，“不工者，工之极也”、“复归于朴”的境界，白石老人常说要“无画家习气。”因为你写的是书法，不是做字，不是按照 某种标准或主义的规定创作什么主题的作品，应该是发自内心的，不为技法和形式所左右，是修于内而发于外的真情，就是不要有所欲，“欲”是障，它使你不能本 真，情不真，意便不切，作品就会“巧”，不能感人。
In calligraphy, "clumsy" is the "land abandoned boat", "work, work is also very", "returning to simplicity" realm, Bai Shi always said "no painter habits." Because you do not write calligraphy, words, not in accordance with the provisions of a standard or doctrine of the creation of what the theme of the works, should be from the heart, is not about the techniques and forms, is built within the hair on the outside of the truth, is not to be, "desire" is a barrier, it makes you not true, not true, Italy will not cut, works will be "clever" and not touching.
如傅山所说：“藏于见皆有心者也。有心则貌拙而实巧，巧则多营，多营则虽有所得，而失随之。”这也说明“巧”和“拙”是辩证的，“大巧若拙”，但“拙”不必藏，藏“拙”而实“巧”。
As Fu Shan said, "there are people who have the heart to see." If you have a good mind, you are very skillful in appearance. It also shows that the "smart" and "clumsy" is dialectical, "None", but "clumsy" do not have to hide, hide "clumsy" and "clever".
“拙”不是固有的审美，而是随书法艺术的发展而产生的，是时代的产物，但其中所蕴含的精神却是人对生命本质的观照和回归。这才是“拙”的真意。
"Clumsy" is not inherent aesthetics, but with the development of calligraphy, and is the product of the times. But the spirit contained in it is the reflection and regression of human's essence of life. This is the "clumsy".