本文主要以藝術哲學之角度，探討中國書與畫之關係。其中使用到的主要有莊子之藝術精神與中國美學及藝術哲學。中國書與畫之關係，有論者以為它們存在極大的差異，亦有論者以為它們之間乃有著極緊密的關係。本文之論點乃支持後者，理由在於持差異者之觀點，乃視書法之字詞為工具，一純然的文字符號，其功能只是承載人類語言之意義，未能從美學哲學之角度切入。於此，在討論書法字詞，甚至中國藝術思想中的美學與哲學成素，即變的非常重要。此思想之來源，乃《莊子》，其中所呈現之精神境界的心靈主體，無不充備著藝術性格，其思想開啟了藝術創作的主體性之方向。除此之外，本文之討論，乃佐以歷代著名書畫作品為研究素材，並探討趙孟頫的書畫表現內涵及風格之關係，以理解趙孟頫以書入畫之理論，將書法與繪畫緊密結合，表現出文人畫家之書畫合一之精神，並契入帶有哲學意義的書畫精神。 In this paper I would like to discuss the relationship between calligraphy and Chinese painting mainly by the angel of philosophy of art. In order to this aim I try to understand the spirit of art from Zhuangzi and the Chinese aesthetic and philosophy of art. The relation of calligraphy with painting is thought in two ways, that is, there are big difference between both, or closed relation. In this paper I hold that there is a closed relation, and the reason is that the opposite of viewpoint sees calligraphy as nothing but a tool, namely a system of symbol, and its functions does undertakes the meanings of words, in one word, they cannot understand that calligraphy can be seen as an art work. In order to understand what I have said, it is very important to discuss calligraphy by the art thought and its elements of aesthetic and philosophy. It comes from 《Zhuangzi》, which demonstrate the subject of spirit characterized as art and his thought makes the direction of subject who makes creation of art. In addition to philosophy of art I try to supple many famous art works of China in different time and discuss the style and the content in art works of Zhao Meng - Hu in order to make clear his theory of art: how can he combine the painting and calligraphy, and therefore shows the spirit of such combination.
