琅琊王氏是中古时期最具代表性的名门望族。其中书法家辈出，为书法史的发展起到了关键作用。王僧虔(426-485)出身于琅琊王氏，是南朝宋齐之际的著名书法家、 书法理论家。其《太子舍人帖》作为为数不多流传下来的琅琊王氏墨迹之一，使我们得见南朝士族书风的其中一种面貌。本文选取王僧虔的书法为考察对象，以此来探究东晋到南朝书法风格的演变及其规律。 本文第一章通过调查王僧虔的生平事迹，揭示了王氏子弟的处境在晋宋之际的转变，这种转变让王僧虔在南朝政坛中形成了保守的性格。同时，在书法艺术的追求上已经不再向往个性化的表达，而更趋向于对前人的艺术形式进行总结和再现。在王僧虔的 流传书迹的考察，发现从文献、摹本细节、押署等角度皆可证明王僧虔现存三帖都是流 传有序，确切可信的。第二章通过文献上对书风古今演变的描述，以及对二王书迹的比 勘分析，发现东晋到南朝这段时期的笔法形式有着逐渐简化的趋势，从书法图像、技法 分析的角度上看，王僧虔的书风与王献之相差不大，都简化了王羲之的笔法，其对于王羲之的模仿也更流于表面。王僧虔《太子舍人帖》既表现了楷法的成熟与完备，同时也 呈现出对于魏晋时期形成的楷书笔法造成了某种简单化、程式化倾向，乃至于书写性的 缺失。换言之，对前人笔法形式的再现取代了自然书写的笔触，消弭了魏晋时期的书写 原则。第三章从从文化背景与士族身份分析，琅琊王氏从东晋的鼎盛到南朝逐步走向衰 落，这也决定了琅琊王氏成员如王僧虔，并不能像东晋王羲之那样在政治经济之雍容处境下以书法来彰显风度，而更多地用书法作为与新兴寒人、文化新贵的区分手段。在政治经济特权演变成文化艺术“特权”的语境下，王僧虔书法也自然不同于王羲之书法。 本文通过笔法形式的分析，以及对魏晋至南朝时期政治文化背景考察，试图还原这一时期笔法形式的发展脉络。探讨笔法演进史中不同时期的书法家的文化背景对其书风 的影响。不论从书法技法还是从书者处境上看，王僧虔的《太子舍人帖》都标志着魏晋时期笔法形式的衰变和楷书笔法的凝固。

The Wang clan of Langya is one of the most representative noble families in the medieval period, with a lineage of calligraphers who played a key role in the development of calligraphy history. Wang Sengqian (426-485), born into the Langya Wang clan, was a renowned calligrapher and calligraphy theorist during the transition from the Southern Dynasties' Song to Qi. His "Taizi Sheren Tie" (Prince's Attendant Letter), as one of the few surviving works of the Langya Wang's ink, allows us to see one aspect of the calligraphic style of the Southern Dynasties' aristocracy. Chapter one of this paper, through investigating the life and deeds of Wang Sengqian, reveals the changing circumstances of the Wang clan members from the Jin to the Song dynasties, leading to Wang Sengqian's conservative character in the political arena of the Southern Dynasties. Simultaneously, in the pursuit of calligraphic art, there was a shift from seeking personalized expression to summarizing and reproducing the artistic forms of predecessors. It has been found that the existing three pieces of Wang Sengqian's works are orderly and reliably transmitted, as evidenced from perspectives of literature, imitations' details, and endorsements.Chapter two, through the literature on the evolution of calligraphic styles from ancient to modern times and the comparative analysis of the calligraphic works of the Two Wangs, discovers a trend of gradual simplification in the brushwork forms from the Eastern Jin to the Southern Dynasties. This simplification in brushwork forms, also found in the comparison of the calligraphic works of Wang Sengqian and other calligraphers from the Langya Wang clan, may corroborate the overall trend of simplification in the evolution of brushwork forms in calligraphy history.Chapter three views the gradual fading of the elegant demeanor of the Wang clan members from the perspective of the history of thought, which is somewhat related to the decline of Wei-Jin metaphysics. From the standpoint of the status of the gentry, the rising status of the common people also had an impact on Wang Sengqian's conservative attitude in the cultural field, and changes in the environment also promoted the simplification of brushwork forms on another level. Through the analysis of brushwork forms and the examination of the political and cultural background from the Wei-Jin to the Southern Dynasties period, this paper attempts to reconstruct the development trajectory of brushwork forms during this period. It explores the impact of the cultural background of calligraphers from different periods on their calligraphic styles in the history of brushwork evolution. This is an abstract of a master's thesis;