晚明四家中的張瑞圖，因為其特殊的行草書風，雖然已經受到不少學者所關注，也累積了相當的研究成果，卻依舊無法釐清其風格來源。文中首先檢討過去研究者所提出的角度，採取不同的觀點與方法，試圖說明張瑞圖書風與孫過庭《書譜》之間可能存在的關係。接著探討張瑞圖的書法應酬活動，考慮書家與書法在晚明社會中所扮演的角色與功能。同時，配合張瑞圖書風的發展與筆法的變化，具體指出應酬活動如何對其書寫習慣產生影響，最後逐漸形成個人的特殊風格。

As one of the Four Masters of the Late Ming Chang Jui-t’u, has, because of his unique style of Semi-Cursive Script calligraphy, already received considerable scholarly attention, with substantial findings generated from this research. Still, there has been no revision or clarification of the origins of his style to date. This article opens with an examination of the ideas raised in past research on Chang Jui-t’u, highlighting different points of view and methodologies, and attempts to explain what relationship might exist between Chang’s calligraphic style and the ideas espoused in Sun Kuo-t’ing’s Essay on Calligraphy. The essay continues with an exploration of Chang Jui-t’u’s activities with regard to gift or occasional calligraphy and considers the role and capacity of calligraphers and calligraphy in late Ming society. At the same time, in correspondence with the development of Chang’s calligraphic style and the changes of his brush method over time, the author points out how his participation in creating gift calligraphy pieces produced a concrete influence on Chang’s Jui-t’u’s writing practices as a whole, gradually culminating in the formation of an individualistic, distinctive style.

張瑞圖; 應酬書法; 孫過庭; 書譜; 晚明四家

Chang Jui-t’u; ying-ch’ou shu-fa; gift calligraphy; Sun Kuo-t’ing; Shu-p’u; Essay on Calligraphy; Four Masters of the Late Ming