【摘要】 南朝梁袁昂奉旨而作的《古今書評》，是中國書法理論從書法作品品鑒向系統化美學理論躍升的關鍵。論文認爲袁昂的書論并非零散的比喻堆砌，而是通過意象批評的方法和“風流氣骨”“骨氣洞達”“意氣密麗”等核心範疇，確立了“得意忘形”的品評範式和“神采論”的書法批評主導地位，構建了一個以人物品藻爲骨架、以自然意象爲血肉、以生命精神爲靈魂的完整美學體系。此美學體系的核心，在于將書法的形式美升華爲精神美，將技術規範内化爲氣質品位，不僅深刻地反映了魏晋六朝人覺醒所帶來的藝術自覺，而且爲後世書法美學奠定了基石，對整個中國古典藝術批評産生了“立法性”的深遠影響。更多还原

【Abstract】 The Critique of Ancient and Modern Calligraphers, written by imperial edict in the Southern Dynasties by Yuan Ang of the Liang dynasty, marks a pivotal transition in Chinese calligraphy theory from the appreciation of calligraphic works to systematic aesthetic theory. This paper argues that Yuan Ang’s calligraphy criticism is not a mere accumulation of scattered metaphors. Instead, through the method of imagery criticism and core categories such as “elegant style and spirit,” “thoroughness of spirit and vigor,” and “dense and beautiful sentiment,” he established a paradigm of “attaining the meaning and forgetting the form” and the dominance of “vividness theory” in calligraphy criticism. This gave rise to a complete aesthetic system, with character evaluation as its framework, natural imagery as its flesh and blood, and life spirit as its soul. The core of this aesthetic system lies in elevating the formal beauty of calligraphy to spiritual beauty and internalizing technical norms into temperament and taste. It not only deeply reflects the artistic consciousness brought about by the awakening of people during the Wei, Jin, and Six Dynasties periods but also laid the foundation for later calligraphy aesthetics and has had a profound and “legislative” impact on the entire field of classical Chinese art criticism.更多还原