“方”与“圆”作为中国书法艺术领域中的一组审美范畴,历代书家多有论及。如宋代姜夔所著《续书谱》,就专设<方圆>一节,认为:“真贵方,草贵圆。方者参之以圆,圆者参之以方,斯为妙矣。”又如,明代赵宦光在其《寒山帚谈》中也曾论道:“笔法尚圆。过圆则弱而无骨;体裁尚方,过方则刚而不韵。”然而,“晚清书家对于方、圆的审美认识有别于其他时期。”。特别是执晚清碑学运动大纛的康有为.对“方”与“圆”的审美认识有了超越前人的理解和创新,不仅在审美意识上赋予这组概念更加丰富深奥、立体多 As a group of aesthetic categories in the field of Chinese calligraphy art, “Fang” and “Yuan” have many references to ancient Chinese calligraphers. Such as the Song Dynasty Jiang Kui, “continued book spectrum”, on the set section, that: “real expensive side, grass expensive round. Carry on. ”“ Another example, the Ming Dynasty Zhao Huan Guang in its ”Hanshan Broom Tan“ has also been said: ”style is still round, while the round is weak and boneless; genre Shangfang, the party is just without rhyme. However, “late Qing scholars for the party, the circle of aesthetic understanding is different from other periods.” In particular, Kang Youwei, who holds a postgraduate of late Qing emperors’ study movement, has gone beyond the understanding and innovation of his predecessors in the aesthetic understanding of “Fang ” and “Yuan ”, which not only enriches these concepts more profoundly in the aesthetic sense Three-dimensional