清初书法家王澍在其《翰墨指南》中说:“晋人书取韵,唐人书取法,宋人书取意。”以此概括晋唐宋这几个时代的书法审美特点。在他之前和之后直到清末,都有书论家作大致类似的表述。对唐人尚法的说法,大致无有异议,但对晋人取韵、宋人取意的观点,倒是可以再作探究。本文拟以王羲之和苏轼为例,比较一下晋人之“韵”与宋人之“意”的异同,同时探讨一下它们与汉字书写应用的历史及其审美观念的关系,聊备一说。 Wang Shu, a calligrapher in the early Qing dynasty, said in his Guide to Hanmo: “The calligraphic aesthetic features of Jin, Tang and Song dynasties are summarized in this book: Before and after him and until the end of the Qing dynasty, there was a much similar statement by the book writers. Generally speaking, there is no objection to the saying of the Shang dynasty in the Tang dynasty. However, the view that the dynasty invokes rhyme and the Song dynasty desires meaning can be explored again. This article intends to take Wang Xizhi and Su Shi as examples to compare the similarities and differences between the ”rhyme“ of Jin people and the ”meaning" of the Song dynasties, and to explore the relationship between them and the history and aesthetic conception of the application of Chinese characters One said.