一、魏晋南朝书法审美观的流变: 魏晋时期不仅完成了书体的沿革,完成了观念上由实用向审美的转换,而且出现了有关书法技法论、创作论和审美论的书法理论。书法理论的产生是书法艺术进入自觉状态的最明显的标志。这一时期的书论虽真假难辨,然均为唐以前所传,且广为流播,对后世产生了深远的影响,故仍然是极为宝贵的财富。我们从传为蔡邕、钟繇、和卫恒、卫夫人、王羲之的书论及南朝书论中能明显看到书法审美观念由表及里、由浅入深的发展线索。 1.由‘象’到‘意’的审美观念的深入: 蔡邕在《九势》中云:‘为书之体,须入其形’,‘纵横有象者,方得为书。’亦即书法的造型取势的意念须从自然万物的千姿百态中索取,这种尚象的主张是后世书论的重要内容之一。三国、两晋延续了这一方式: ‘其曲如弓,其直如弦,矫然突出,若龙腾于川,渺尔下颓,若雨坠于天。’(卫恒《四体书 I. The Change of Calligraphic Aesthetics in the Wei, Jin and Southern Dynasties: The Wei and Jin Dynasties not only completed the evolution of the book, but also changed the concept from practical to aesthetic, and appeared the calligraphic theory about calligraphy, creation and aesthetics . The emergence of calligraphy theory is the most obvious sign that calligraphic art has entered a conscious state. Although the true and false of this period of the book theory are difficult to distinguish, both before the Tang Dynasty, and spread widely, had a profound impact on later generations, it is still an extremely valuable asset. We can clearly see the clues of the calligraphic aesthetic concepts from the perspectives of the table, from the shallow to the deep, from the book theory of Cai Yong, Zhong Kui, Wei Wei, Madame Wei and Wang Xizhi. 1. From the “image” to “meaning” of the aesthetic concept of depth: Cai Yong in the “nine potential” in the cloud: ’for the body of the book, to be shaped’, ’vertical and horizontal like the elephant, the party was the book. That is, the idea of ​​the calligraphic style to take advantage of the situation must be obtained from the diversity of natural phenomena, which is one of the important contents of later sutra. Three Kingdoms, Jin and Jin continued this way: ’The song is like a bow, straight as the string, straightening out, if the Dragon in the river, the er-ru decadent, if the rain falls in the sky. ’(Guardian’ four-character book