本书共六章，就蔡襄诗歌与书法创作为研究对象，重点分析二者互通互补之处是什么以及如何实现的，借以还原和形成对蔡襄之完整人格精神的整体观照，更深入地理解其作品，展示出“宋型文化”背景下的“复合型人才”的样貌，亦可窥探宋代这两大成熟艺术范型的发展和转变轨迹。同时，通过以这个个案的研究为切入点来探讨宋代诗歌与书法之关系，进而思考中国诗歌与书法之关系，为弘扬优秀传统文化增砖添瓦。
绪 论······························································································· 1
第一节 诗韵书情 —— 中国诗歌与书法关系·········································· 1
第二节 文献综述 ············································································ 4
第三节 对蔡襄诗歌与书法关系研究的意义 ··········································· 8
第一章 “宋型文化”视野下的蔡襄其人 ··················································· 11
第一节 “宋型文化”视野下的北宋士大夫形象 ···································· 11
第二节 复合型人才蔡襄 ·································································· 14
第三节 蔡襄生平经历 ····································································· 17
第二章 蔡襄书法在北宋书法史上的定位 ··················································· 20
第一节 北宋书法在中国古代书法史上的定位 ······································· 20
第二节 “宋四家”的“蔡”之辨 —— 兼论蔡襄书法在宋代书法史上的地位 23
第三章 诗歌品格和书法品格的互补 ························································· 27
第一节 诗歌 ——“道”的理念························································· 27
第二节 书法 ——“中”的实践························································· 31
第三节 诗书互补：中庸的主体精神 ··················································· 34
第四章 诗歌与书法创作实践的互通 ························································· 36
第一节 诗歌博采众家 ····································································· 36
第二节 书法转益多师 ····································································· 39
第三节 诗书互通：有意于复古 ························································· 45
第五章 诗歌和书法创作倾向的趋同 ························································· 48
第一节 诗歌重“气” ····································································· 48
第二节 书法重“神” ····································································· 51
第三节 诗书合璧：唯取神气为佳 ······················································ 59
第六章 后世对蔡襄的接受 ····································································· 63
结 语······························································································ 67
参 考 文 献························································································· 69
附录 1 蔡襄主要传世作品名录及释文 ······················································· 76
附录 2 蔡襄相关书论知见录 ··································································· 88
附录 3 蔡襄传世作品选录 ·····································································111
第一节 诗韵书情 —— 中国诗歌与书法关系·········································· 1
第二节 文献综述 ············································································ 4
第三节 对蔡襄诗歌与书法关系研究的意义 ··········································· 8
第一章 “宋型文化”视野下的蔡襄其人 ··················································· 11
第一节 “宋型文化”视野下的北宋士大夫形象 ···································· 11
第二节 复合型人才蔡襄 ·································································· 14
第三节 蔡襄生平经历 ····································································· 17
第二章 蔡襄书法在北宋书法史上的定位 ··················································· 20
第一节 北宋书法在中国古代书法史上的定位 ······································· 20
第二节 “宋四家”的“蔡”之辨 —— 兼论蔡襄书法在宋代书法史上的地位 23
第三章 诗歌品格和书法品格的互补 ························································· 27
第一节 诗歌 ——“道”的理念························································· 27
第二节 书法 ——“中”的实践························································· 31
第三节 诗书互补：中庸的主体精神 ··················································· 34
第四章 诗歌与书法创作实践的互通 ························································· 36
第一节 诗歌博采众家 ····································································· 36
第二节 书法转益多师 ····································································· 39
第三节 诗书互通：有意于复古 ························································· 45
第五章 诗歌和书法创作倾向的趋同 ························································· 48
第一节 诗歌重“气” ····································································· 48
第二节 书法重“神” ····································································· 51
第三节 诗书合璧：唯取神气为佳 ······················································ 59
第六章 后世对蔡襄的接受 ····································································· 63
结 语······························································································ 67
参 考 文 献························································································· 69
附录 1 蔡襄主要传世作品名录及释文 ······················································· 76
附录 2 蔡襄相关书论知见录 ··································································· 88
附录 3 蔡襄传世作品选录 ·····································································111
郭俐兵，河北邢台人，暨南大学文学硕士、博士，华南师范大学博士后，主要学术领域为唐宋文学、明清小说与传统文化、近代文学与文化，曾在《文化遗产》、《暨南学报》等CSSCI来源期刊发表《论蔡襄诗歌与其书法创作之关系研究》、 《20世纪以来文学批评史对明代七子派的接受述评》、《论<金瓶梅>中的命案》、《第十二届国际《金瓶梅》学术研讨会综述》、《“祭七”源流考探》、《论明清小说的“死前预示”》等论文多篇。
近年来学术活动：
（1）2016年10月9-13日于暨南大学参加“第十二届国际《金瓶梅》学术研讨会暨版本展”。
（2）2017年11月9-11日于暨南大学参加“明代文学国际学术研讨会暨中国明代文学学会（筹）第十一届年会”。
（3）2019年12月13日于华南师范大学参加“首届江南文化?岭南文化论坛”。
（4）2021年11月27日于暨南大学参加“《金瓶梅》文本传播与研究论坛”。
（5）2021年12月25-26日于华南师范大学参加“中国近代文学学会小说分会第八届学术年会”。