报告论述了魏晋玄学背景下的审美自觉与书法艺术形而上学。魏晋南北朝是一个价值自觉的时代。本文认为，魏晋玄学表达了“人的自觉”，魏晋的艺术本体论表达了“艺术的自觉”，而书法艺术形而上学则表达了“书法的自觉”。人的自觉－艺术的自觉－书法的自觉是环环相扣而不可分离的。论文由此分别对三者作出了阐释并论证了其内在联系。 书法艺术形而上学是魏晋艺术本体论的一个维度，而魏晋时期之所以能够建构独立自足的艺术本体论，在于魏晋玄学对儒家道德一元论的突破。由于道德不再出于一尊之位，包括书法在内的各类艺术便在这个时期获得了充分的价值肯定，获得“道”的形而上根据。 魏晋时期的书法艺术形而上学集中体现为对书“道”的祈向和对书“圣”的师法。这其实是魏晋艺术理论中“原道－征圣－宗经”的一贯精神。“道”的意义在于人的“得道”；书法艺术形而上学的根本旨趣在于从事书法艺术的人对艺术理想的不断追求。书道并不乖违现实的书法艺术活动，而就在现实的书法艺术尤其是经典书家的艺术中得以显现。投身书法必须师法经典，师法经典的根本目的在于师法“书道”。由于有了对书道的终极眷注，书艺代代相传而又代代不同。魏晋书论中的形而上精神成为书学史上的典范。

This article discourse upon the consciousness of beauty and the ontology of calligraphy in the background of Wei and Jin dynasty’s metaphysics. I argue that Wei and Jin’s metaphysics expressed the consciousness of human, while the art’s ontology expressed the consciousness of beauty, and the calligraphy’s ontology expressed the consciousness of calligraphy. I set forth the three parts and demonstrated the relationship among them.Calligraphy’s ontology was one dimensionality of Wei and Jin’s art’s ontology. The people could establish the independent and self-contained art’s ontology, it was because Wei and Jin dynasty’s metaphysics break though the moral monism of Confucianism.Calligraphy’s ontology expressed the seek of Tao and the imitation of the genius. This was the spirit of the whole age. The Tao’s value is being obtained. Tao isn’t far away from the art experience but appear among them especially among the work of genius. Learning calligraphy must learning the great work, therefore you can obtain the Tao. The sublime spirit in Wei and Jin was the apotheosis in history of Calligraphy.