“妙”是中国古典美学史上极为重要的一个审美范畴,处于审美范畴大厦的第一层级。这缘于其与《老子》之“道”的根性联系;“妙”侧重连接和体现的是“道”之“无”的一面。从道家的哲学之思到秦汉时期侧重官能感受的感性审美之妙,从魏晋时期人、艺品评的理性积淀之妙,到唐宋之妙的不断丰富与元明清妙美的不断变奏,“妙”在吞吐通变中完成自身的拓界与深化,并最终被提升为中华美学的核心范畴之一。“妙”在当代文艺理论与美学领域明显气场不够,此等境遇与其含义相对模糊,难以满足当代人文科学研究系统化、清晰化的追求有关,亦与近代以来相关研究比较薄弱的现实情形有关。但“妙”并未实质性地消逝,“妙”范畴所包含的“自然而然”等审美意蕴依然体现在当代国人的审美活动中。 “Wonderful ” is an extremely important aesthetic category in the history of Chinese classical aesthetics, which is in the first level of the aesthetic categories of buildings. This is due to its root connection with the Tao of Lao Tzu. Focusing on connection and reflection is the “none” side of Taoism. From the philosophical thought of Taoism to the aesthetic sensibility of the sentiment in the Qin and Han Dynasties, from the rational accumulation of people and works in the Wei and Jin dynasties, to the continuous enrichment of Tang and Song dynasties, “Miaosu” completed its own extension and deepening in its handling of the turmoil and was eventually promoted to be one of the core areas of Chinese aesthetics. In the field of contemporary literary theory and aesthetics, “Miaosai ” is obviously lacking in aura. These situations are not related to their meanings and are difficult to satisfy the pursuit of systematization and clarity of contemporary humanities research. They are also related to the relatively weak research in modern times Situation related. However, “wonderful ” does not substantially disappear, “wonderful ” category contains “natural ” and other aesthetic implication is still reflected in the contemporary people’s aesthetic activities.