圖片來源：學(xué)習(xí)強(qiáng)國

指辨識(shí)書法藝術(shù)的要訣,。南朝王僧虔（426—485）、唐代張懷瓘（guàn）等人主張,，鑒賞書法時(shí)以精神氣韻為首要標(biāo)準(zhǔn),，其次才是書法的筆墨形式。他們將富有風(fēng)神骨氣的書法看作上品,，將崇尚美麗形體和功用目的的書法看作下品,。這一觀念，代表中國古代書法的主流欣賞標(biāo)準(zhǔn),。

This refers to the way to judge the artistic quality of calligraphy. Wang Sengqian (426-485) of the Southern Dynasty and Zhang Huaiguan (dates unknown) of the Tang Dynasty held that the primary criterion for appreciating calligraphy is whether it features a spiritual liveliness; the concern about the way of how to use the brush and ink is secondary. Both of them valued a calligraphic work's spiritual verve and structural integrity and despised an excessive obsession with superficial decorum and practical usefulness. This preference represents a major criterion for appreciating ancient Chinese calligraphy.

引例 Citations：

◎深識(shí)書者,，惟觀神彩，不見字形,。若精意玄鑒,，則物無遺照，何有不通,？（張懷瓘《文字論》,，見張彥遠(yuǎn)《法書要錄》卷四）

深通書法的人，主要是觀摩作品內(nèi)在的神采,，而不是外在的字形,。如果洞察書法的神韻意趣，那么作品中的所有方面都能清晰照見,，還有什么不能通達(dá)的呢,？）

A truly good calligrapher cares mainly about a calligraphic work's innate charm, not about characters' external appearances. Provided that a deep insight is gained into the spiritual profundity and liveliness of calligraphic script as a whole, all minor aspects of it will become recognizable as well. (Zhang Huaiguan: On Characters with and without Analyzable Components)

◎智則無涯，法固不定,，且以風(fēng)神骨氣者居上,，妍美功用者居下。（張懷瓘《書議》,，見張彥遠(yuǎn)《法書要錄》卷四）

智慧沒有邊際,，法度本不固定，書法作品中以富有風(fēng)韻,、神采,、筋骨、氣勢(shì)等品格的列為上品，而追求外形華麗和功用目的的則列為下品,。

Wisdom has no boundary; rules are by no means fixed. All calligraphic works with an innate appeal, liveliness, structural integrity, and overall impact are excellent, whereas those whose sole aim is to pursue superficial pomp and functional relevance are shoddy works. (Zhang Huaiguan: Comments on Calligraphy)