當書法的功能性在時代的變遷下由實用轉為藝術之際，也反映著現代人對於書法的接觸不再普及。一直以來為中國傳統文化的書法雖然被保存下來，但教育體系上卻未被編入主流課程反而邊緣化乃至民間研習課的書法班在開課的量數與續班的維持都不及於時下潮流課的三分之一。再加上學習效果無法立竿見影又學生錯把書法課當寫字作業的壓力因而產生負面的觀感。本文將以各種不同的表現方式呈現作品多元的樣貌。為的只是試圖找回對書法愛好的興緻。
第一章敘述本論文研究動機、目的、研究方法及研究範圍。
第二章探討傳統書法的基本體系，第一節介紹中國書法的歷史、書法寫意及重要代表書家及作品。第二節介紹氣定神閒的執筆法，並說明輕鬆拿筆帶來的寫字舒適感。
第三章介紹書法的傳統與實驗並剖析"日本少字派"與"董陽孜大字"的表現張力，進而趣談台灣本土書畫家李轂摩"以字點題"的寓意畫風。再談建築大師漢寶德的書法藝術空間與建築的形式關係。
第四章是筆者的作品解析。以"書法各體與文字內容的相對應"與"個人風的書法藝術與自我的表現"，作為創作論述重點。
第五章為結論，未來中國書法的發展，如何應用各種新媒材技法，融合中西藝術，將書法的功能表現在不同的層面上，使之與學校教育接軌，並在文創的ｅ世代裡讓書法成為藝術的陪伴。
When the functionality of calligraphy changes from practical to artistic under the changes of the times, it also reflects that modern people's contact with calligraphy is no longer popular. Although calligraphy, which has always been Chinese traditional culture, has been preserved, the education for calligraphy has not been included in the mainstream curriculum and has been marginalized. Even the number of private calligraphy lessons is less than one-third of the current trendy classes. In addition, the effect of learning cannot be seen immediately, causing the students mistakenly see calligraphy class for writing assignments, which produces a negative impression. This article will present the diverse appearances of calligraphy works in various expressions, in order to try to find interest in calligraphy hobby.
The first chapter describes the research motivation, purpose, research methods and research scope of this thesis.
The second chapter discusses the basic system of traditional calligraphy. The first section introduces the history of Chinese calligraphy, freehand brushwork and important representative calligraphers. The second section introduces the calm and leisurely writing method, and explains the length of easy writing that brings the comfort of writing.
Chapter Three introduces the tradition and experiment of calligraphy and analyzes the expressive tension between "Japanese Few Character School" and "Dong Yangzi Big Characters", and then talks about the implied painting style of Taiwanese local calligrapher and painter Li Kumo's "pointing with words". Let's talk about the relationship between the calligraphy art space of the architect Han Baode and the architectural form.
The fourth chapter is the analysis of the author's works. The focus is on "correspondence between calligraphy style and text content" and "self-expression of personal calligraphy art".
Chapter 5 is the conclusion. In the future development of Chinese calligraphy, how to apply various new media technologies to integrate Chinese and Western art, and express the functions of calligraphy on different levels, so that it can be integrated with school education and the digitalization of cultural creation. Let calligraphy be a companion of art.
