直接用『尚韵』来概述整个晋代书法的时代性特征是明清时候的事情,但是以『韵』来论书法,在南朝时期已经出现。以『韵』来论晋代的书法在唐代时已有出现。宋代及以后以『韵』来论晋代书法的情况就更为普遍了。整体来说晋书『尚韵』的理论发源于以『韵』论书,其产生和形成有较为明确的历史脉络。以『韵』论书最早出现在南北朝时期。南齐的书家王僧虔在其所著的《书赋》里曾有『将蒨文匪缛,托韵笙簧』1之语,意思是说书法作品的美在 Directly use “Shang Yun” to summarize the historical characteristics of calligraphy throughout the Jin Dynasty is a matter of the Ming and Qing Dynasties, but “rhyme” to calligraphy, appeared in the Southern Dynasties. Calligraphy “rhyme” to the Jin Dynasty appeared in the Tang Dynasty. The Song Dynasty and later “rhyme” to call on the calligraphy in the Jin Dynasty is even more prevalent. On the whole, the theory of “Shang Yun” in Jin Shu originated from the book of “Yun”, and its creation and formation have a clearer historical context. The earliest “rhyme” book appeared in the Northern and Southern Dynasties period. In his book The Book Fu, Wang Sengqian, a book writer in the South Qi, once wrote the phrase “Singing the Silencers and Thorns,” meaning that the beauty of calligraphic works