唐代李嗣真《後書品》與南宋姜夔《續書譜》，雖然是不同時期的書學論著，其闡述書學的方式與體例也截然不同，但是在其最核心的審美思維中卻流露著相同的美感指標。本文首先闡述李嗣真《後書品》提出的「逸品」，透過既有的文字表象去詮釋其中所蘊含的意義，以「逸品的基本定位」和「李嗣真以人工契合自然的審美理想」去說明；接著闡述姜夔《續書譜》提出的「風神」，以「風神的本質」和「《續書譜》〈風神〉篇的美感範疇」進行析論，透過〈風神〉篇與其他各篇的聯繫，點出「風神」在姜夔書學中的定位；最後歸結《後書品》「逸品」與《續書譜》「風神」在觀念與精神上的審美共性。

Comparing the masterpiece of the theory of calligraphy from Li Sizhen’s “Hou Shupin” in the Tang Dynasty and Jiang Kui’s “Xu Shupu” in the Southern Song Dynasty. Despite both masterpieces were from a different period of ancient and had different styles of writing, the authors had similar views on the thinking of aesthetics. This article will firstly analyze the “Yi Pin” from “Hou Shu Pin” of Li Sizhen then interpreting the meaning of the theory through the existing context. Secondly, it will discuss the “Feng Shen” from “Hou Shupu” of Jiang Kui and will also provide a point of “Feng Shen” was the main argument of Jiang Kui through the connection with the chapter of “Feng Shen” and others. Finally, it will come down to the similarities in aesthetics between the two.