出自《周易》的「觀物取象」的觀念，經由後人的假借轉用，逐漸形成具有傳統色彩的意象美學，漢魏六朝書論正是「觀物取象」觀念的產物之一。書法「觀物取象」理論，這一名稱的使用，有助於瞭解當時書論的淵源及特色。漢魏六朝時期，書法藝術正面臨內外在急劇變革之時，書法「觀物取象」理論建構了書法藝術創作、批評的基本規律，開創書法意象本質的探討，並能提出創作主體的心理與自然合一的條件，豐富書法藝術的美學基礎，「觀物取象」這一古典美學觀，能體現並成為漢魏六朝書論的核心，為探索前人如何建構書法視覺意象的反應提供一個較為完備的理解之道。本文即以此觀點對此一美感發展進行探討。
The theory concerning calligraphic works and writing art "appreciate nature to creative images" from the Book of Changes represents a creative model of writings. That gives emphasis on the subjunctive side and inner cause of artistic images. For calligraphy writing becomes an art as well as a process of building the memory presentations. We can describe the origin of imagination based on the high maturity of writing art that were born in a certain historical circumstance after Han dynasty. There are categories of Chinese classic aesthetics show the idea nature, sensible character and the depth and extent of aesthetic activity. The writing art with "appreciate nature to creative images" becomes possible. This study investigates a transactional approach to this inquire aesthetic development.
