以“神采”为代表的书法批评模式,到了宋代,发展为“风神”、“神明”、“精神”、“入神”、“神会”等多种表达形式,其中尤以“风神”、“神明”、“精神”等为代表的批评话语最具时代特色。以“神”为核心的宋代书法批评将“神”作为书法审美的最高标准;强调“神”是书法整体性内在精神的外显;表明书法之“神”既得之于作者修养,又有其自生、自在的生命成分,从而完成了宋代书法批评的审美人格化构建。 In the Song Dynasty, the calligraphic criticism model represented by “Shen Cai ” was developed into “Fengshen ”, “God ”, “Spirit ”, “Into God ”, “God will ” and so on Among them, the critical words represented by “Fengshen ”, “God ” and “Spirit ” have the most characteristics of the times. The calligraphic criticism of the Song Dynasty centered on “God ” regards “God ” as the highest standard of calligraphy ’s aesthetics, emphasizes that “God ” is the explicit manifestation of the intrinsic spirit of calligraphic integrity; In the author’s self-cultivation, but also its own life, comfortable life composition, thus completing the Song Dynasty calligraphic criticism of the aesthetic personality construction.