本論文研究漢至六朝書論中「書勢論」和「優劣論」之間的理論關係和思維聯繫。從「象喻連類思維」的角度思考「書勢論」在書法審美感知所蘊含的一種看待各體書勢、書法的獨特眼光和思維基礎，思考書法「象喻連類思維」所蘊含的理論特質和意義，並探討其文化根源和書法與「取象自然」思想脈絡之關係。同時探究「象喻連類思維」對南朝以降「優劣論」書論之影響。從中思考六朝書論的演變軌跡和「象喻連類思維」對傳統書論的影響。

This study investigates the theoretical relationships and cognitive foundations connecting the "Shi of Calligraphy" (勢, self-so-doing, kinetic propensity) and theories of comparative merits in calligraphy, as articulated in treatises from the Han Dynasty to the Six Dynasties. Adopting the perspective of "Image-analogy associative thinking," the article examines the aesthetic perceptions and distinctive conceptual underpinnings embedded in the "Shi of Calligraphy." The analysis highlights the theoretical characteristics and cultural significance of this mode of thought and explores its origins, exploring its origins and its connections to the broader philosophical context of "deriving images from nature." Furthermore, this article evaluates the impact of "Image-analogy associative thinking" on the emergence of calligraphic critiques that assess comparative merits during the Six Dynasties and beyond. By tracing the evolutionary trajectory of calligraphic theories across this period, the study elucidates the enduring influence of "Image-analogy associative thinking" on traditional calligraphy discourse.

書論;書勢;六朝;象喻連類思維;類思維

Calligraphy theory; Shi ( 勢 ; self-so-doing; kinetic propensity) of Calligraphy; Six Dynasties; Image-analogy associative thinking; categorical and conjunctive thought