“高古”、“古质”、“古意”、“古雅”等等相似术语在历代书论中屡见不鲜,“古”始终是中国书法一个重要的审美范畴与创作母题。但“古”到底为何物,前人又往往语焉不详,仿佛“古”是一个不证自明,具有天然合法性的概念。在书法史上,书法一直是各种思想观念角逐的场所。从前人的诸多关于“古”的论述中,我们大致可以寻绎出“古”这个范畴的基本内涵:它既是一个历史性的概念,又是一个非历史性 Similar terms such as “古 古”, “古 古”, “古 意”, “古雅” and so on are not uncommon in ancient Chinese scholarly writings. “Ancient” is always an important aesthetic of Chinese calligraphy Category and creative motif. However, “ancient” in the end what is the matter, the predecessors are often absent-minded, as if “ancient ” is a self-evident, with the concept of natural legitimacy. In the history of calligraphy, calligraphy has always been a place where various ideas and concepts compete. From the expositions of the predecessors on “ancient”, we can roughly find out the basic connotation of the category “ancient”: it is both a historical concept and a non-historical