东汉末年,是艺术觉醒的萌芽时期。书法创作日趋繁荣,书法楷模层次不穷,书法美学理论亦相当丰富,并引发了魏晋时期真正的艺术觉醒时代的来临。东汉末年的审美思想主要反映在当时的书法理论文献上。现在流传下来的有:崔瑗的《草书势》,蔡邕的《篆势》、《笔论》、《九势》以及钟繇的《用笔法》。从这些书论中我们能够看到,东汉末年,能够代表书法家“艺术觉醒”标志的审美思想。一、参照自然万物的审美取向 The Eastern Han Dynasty, is the budding period of artistic awakening. Calligraphy is becoming more and more prosperous, calligraphy model level is not poor, calligraphy aesthetics theory is also quite rich, and triggered the Wei and Jin Dynasties a real era of artistic awakening. The aesthetic thoughts of the late Eastern Han dynasty were mainly reflected in the literary theory of the time. Now handed down are: cursive “Cursive”, Cai Zhi’s “seal”, “writing”, “nine potential” and Zhong Kui’s “pen style.” From these book theories, we can see that in the late Eastern Han dynasty, the aesthetic thought that could represent the calligrapher “artistic awakening ” symbol. First, with reference to the aesthetic orientation of the natural world