書法是中國的傳統藝術，也是文字書寫的方法，它不僅有表情達意的實用功能，更具備了藝術的觀賞價值。書法起於實用功能而來，但從晉代以後，更發展出藝術欣賞之途。由於中國並沒有獨立的美學體系，因此，一般談到美學，我們總會以西方的美學架構來作為思維模式，但若以此來建構中國的書法美學，恐不是最理想的研究方法。談到中國美學，則離不開莊子，《莊子》一書充滿著想像力與創造力的寓言故事，其靈動、生氣與神奇的想像，提供創作者豐富的題材與永不枯竭的美感活水源頭。本論文嘗試透過對莊子美學的探究，將中國行書三大帖所展現的莊子美學意涵做系統性的理論呈現。 Calligraphy is a Chinese traditional art, also is a method of handwriting text, it is not only with useful features to express emotions but also more with rnamental value of art.Calligraphy started at practical function.And even since dynasty Jin, it developed into art appreciation.China does not develop a separate aesthetic system.Therefore, as it comes to aesthetics, we generally think in the way of the western aesthetics architecture when.However, it could not be the most ideal way to contract Chinese calligraphy aesthetics.When we talk about the Chinese aesthetics, it must not be separated from the book Zhuangzi, which is full of imagination and creativity, its intelligent and marvelous imagination’s provide creates rich themes and inexhaustible source of beauty.This thesis tries to through the present systematically and theoretically the “Zhuangzi” aesthetic implications with the three masters’ running scripts in Chinese calligraphy.
