在中國書法史研究領域裡，南朝的地位一向不彰，不但沒有東晉的光彩萬丈，也不及隋唐之絢麗多姿，甚至比不過同期的北朝的生動鮮明。由於傳世的名家書跡絕少，碑誌刻石數量亦很有限，相關的論述因而罕見，遂使人誤以為這是書法史上衰微沒落的時期。實則，這個時期的書法風氣依然興盛，士族人物精於書法者還是很多，宋之羊欣、孔琳之、薄紹之，齊之王僧虔，梁之蕭子雲，還有陳僧智永，都是其中之佼佼者。帝王之中熱衷斯藝者也不在少，宋文帝、孝武帝、齊高帝、齊竟陵王、梁武帝等皆以好書出名。宋齊之間，還設置了「侍書」一職教導皇子學書，亦可見得書法的社會價值極高。隨著內府的收藏漸多，鑒定、裝裱因而變成專業，對後世皇室收藏產生良好的影響。而書法的評論、品評也隨之而興，虞龢〈論書表〉、王僧虔〈論書〉、庾肩吾〈書品論〉、袁昂〈古今書評〉等篇章成為書法美學重要的基礎。這些成就足以說明南朝書法實具有重要的傳承意義，值得我們好好地去認識。

The achievement of Southern dynasties in Chinese calligraphy history is often underestimated. Due to the scarcity of handed down works of famous calligraphers and the very limited number of inscriptions, researchers seldom pay attention and giveAlittle discussion on this topic, which enhances the impression that Southern dynasties isAdecline period on the Chinese calligraphy history. In fact, calligraphy was still prosperous in Southern dynasties. Many aristocrats were adept at calligraphy, such as Yang Xin羊欣, Kong Lin-zhi孔琳之, Bo Shao-zhi 薄紹之 in the Song dynasty, Wang Seng-qian王僧虔 in the Qi dynasty, Xiao Zi-yun 蕭子雲 in the Liang dynasty, and the monk Zhi Yong智永 in the Chen dynasty. Several emperors, like Emperor Wen and Emperor Xiao-wu of Song dynasty 宋文帝 與宋孝武帝, Emperor Gao and King of Ching-ling of Qi dynasty 齊高帝與竟陵王, and Emperor Wu of Liang dynasty 梁武帝, were all famous for their keen on this craft. During Song and Qi dynasties, government created A post named “Shi Shu” 侍書, in order to teach princes to learn calligraphy, reflecting calligraphy was highly valued by ruling class. As the Palace Treasury 內府 collected more and more calligraphy works, the skills of authentication and mounting became more specialized, exerting positive influences on the royal collection in the later ages. At the same time, comments and critiques on calligraphy flourished, and some of which, for examples, Wang Seng-qian’s Yu he’s 虞龢 Lun Shu Baio 論書表（Memorial on calligraphy）, 王僧虔 Lun Shu 論書 （Discussing calligraphy）, Yu Jian-wu’s 庾肩吾 Shu Pin Lun 書品論 （Discussing gradings of calligraphy）, and Yuan Ang’s 袁盎 Gu Jin Shu Ping 古今書評 （Critiques on ancient and modern calligraphy）, even established the foundation of calligraphy aesthetic. These achievements demonstrate that calligraphy in Southern dynasties conveys enormous heritages to the future and is worthy to be further explored.