钟嵘《诗品》以"滋味"论诗,使中国诗学有了新的审美范畴。审视钟嵘《诗品》品评的五言诗及其反映的生活,会发现"滋味"不是抽象概念,而是充满审美张力的审美范型。"怨"与"清",既是五言诗内容的客观存在,又是五言诗的独特"滋味",也是钟嵘评诗的审美标准和审美范型。"怨"与"清"是魏晋时代社会心理和审美心理的反映,"怨"是诗歌创作的外在感召,"清"是诗歌创作的审美追求。"水"意象往往是内心之"怨"的象征,是对"清"境界的审美追求,并成为魏晋诗人纾解时代"哀怨"的手段和途径。

Flavor criterion, which expressed in Zhong rong’ s Shi pin , Open up the Chinese poetics a new aesthetic category , Taste is not an abstract concept,but each one is full of aesthetic paradigm of aesthetic tension .Yuan and Qing,is not only the ob-jective existence of Wuyanshi content, it is also Wuyanshi unique taste, and Zhong rong’ s review of the poetry of aesthetic stand-ards and aesthetic paradigm, Yuan and Qing, which meaning A Slow and Lofty, is a reflection of social psychology and aesthetic psychology in Wei-jin era, Yuan is the external inspire in poetry writing, Qing is the aesthetic pursuit of poetry writing, Water is often the symbol of the heart hatred, in a solitary way, the aesthetic pursuit of the Qing state become the methods and ways of Wei -jin dynasty poets to relive time piteous .

＂人格＂是涉及心理学、伦理学、法学等多门学科的一个术语,而＂审美人格＂则可归入到美学范畴。审美人格具有和谐、自由、超越等特征,这在阮籍身上得到了充分地体现,阮籍的审美人格以恬淡无欲、自然本真、自由超越为基本特点。在魏晋社会分裂及多元化思想背景之下,阮籍以追求富有审美理想的独立人格为人生目标,表现了阮籍对自由及美的追求,寻找精神出路的渴望。

“Personality”is a term which covers phychology, ethics, law etc. The aesthetic personality can be classified into Aesthetics, Aesthetics Personality characterizes harmony、freedom and transcendence etc. These characters embody in RuanJi fully. The aesthetic personality of RuanJi is characterized by simple desire, natural life and free behavior under the condition of social splitting and multi-thoughts of WeiJin, RuanJi put forword the concept“aesthetic personality”showing the desire of pursuring freedom and beauty and seeking the spiritual outlet.

苏轼文艺美学的主体间性虽不充分、不纯粹,还不是有意识地主动追求,但其对审美体验的重视,其在现实空间和审美空间之间自由转换的审美体验,以及打通多种艺术形式的外在限制进入自由超越的审美境界,确实将中华美学向前推了一小步。

Although the intersubjectivity of Su Shi’s literary aesthetics was not complete or pure, or consciously taking the initiative to pursue, he was serious about the aesthetic experience. His aesthetic experience could transform freely between real space and aesthetic space. And his action of getting through the external restriction of various forms of art to enter the aesthetic realm of freedom indeed push the Chinese aesthetics forward.

当代中国书法由实用性转向艺术性,由于人们审美需求品位的不断求变,各种书法赛事、展览的评审也倾向于追求展厅效应。因此,当代草书创作的审美取向,也表现为追求作品的整体视觉效果,即视觉冲击力,主要体现在抒发情性、我心写我草,重视形式、适度增强形式感,布局空间、章法强化对比度,心仪万象、态势生动多变等方面。

People’s aesthetic orientation in contemporary calligraphy has turned from practicality to art-istry. As people’s aesthetic demand grade changes, various kinds of calligraphy competition and exhibition also tend to pursue the hall effect. So the aesthetic orientation of contemporary cursive writing pursues the overall vi-sual effect of the work (namely the visual impact),mainly reflecting the expression of one’s emotion, attach-ing great importance to the form, moderately enhancing the sense of form, the layout space, the art of composi-tion to strengthen contrast, vivid and changeable posture, etc.

中国画十分讲究用笔用墨，山水画的“线”性笔墨是内涵丰富的艺术语言和审美载体，在一定程度上展现了山水画的艺术风格和山水画家的审美追求。对山水画“线”性笔墨语言的探索和剖析，有助于画家进一步认识、重视、发掘线符号语言的艺术之美，有助于画家创造和建立符合自我艺术风格的线符号语言。在山水画家情感和审美之下所形成的线的笔墨语言，实现线造型语言的真正价值，是艺术家毕生追求的个性语言，反映完美的艺术真实。

China painting is very particular about the pen with ink .The landscape of the "line"pen and ink are rich in connotation of artistic language and aesthetic carrier to show the aesthetic pursuit of the artistic style of landscape painting and landscape painter in a certain extent .Study on landscape painting "line"pen and ink language exploration and analysis helps further understanding and explores the artistic beauty of line symbol language .Forming a line symbol language helps artists to create and establish the artistic style of self . The line pen and ink language in the emotional and aesthetic landscape realize the true value of line modeling language , which the artists are in his pursuit of individuality language and reflect a perfect art reality .