在書法發展史上，各代均有其代表性的書體;承唐之後的宋代，一方面在其歷任酷愛書法的君王大力提倡之下，加以兼具詩詞書畫的文人書家輩出，使得行草書法不僅大為蓬勃興盛，更產生了蔡襄、蘇軾、黃庭堅、米芾四大北宋的重要書家，亦是案代書家的代表性人物，世稱「宋四家」。宋四家以其獨創之風格，主張自抒胸臆之創作精神，開創了宋代尚意書風。 蘇軾為四家之一，其行草書不論是以其「東坡體」所表現的形體美，或是在意境、氣勢及情意之神美上，均臻於藝術境異之極致。其中《黃州寒食詩帖》更是將形式創作與情意神韻，融和為一，表露尚意精神之美感風貌。因此，本文即就蘇軾《黃州寒食詩帖》融和形式與神韻，所映現之情意美感，作一研析。文分六部分，除了前言和結論之外，文中先就蘇軾之生平背景及行草創作，作一完整的敘述，藉以窺得書家人生歷程、學書背景;其次，再就其形式表現，深入析論，印證其情意境異之美感;此外，並就《黃州寒食詩帖》之成就，加以論述，以知其於書法史上之地位及價值。

　　　　　 Each era has its typical calligraphic style in the history of calligraphy. In the sung Dynasty after the Tang Dynasty, many kings and emperors loved calligraphy very much and advocated the art. Besides, there were a lot of writers and calligraphers who were good at poetry, and painting as well. Thus, the running style and cursive style of calligraphy were flourishing. Tsai Hsiang, Su Shih, Huang Ting-Chien, and Mi Fu were the four calligraphy masters in the North Sung Dynasty. Su shih was one of the four greatest calligraphers. His "Tong-Pou Style" running and cursive styles of calligraphy have attained to the summit or artistic beauty both in the form and in the spirit. Especially, his "Calligraphy of the Poem 'Huang-Chou Han Shi' "combines the form with the spirit, displaying the impressionistic beauty. Therefore, the purpose of this article is to make a research and analysis on the impressionistic beauty shown in Su shih's "Calligraphy of the Poem 'Huang-Chou Han shi'". There are four parts in this essay. In addition to the introduction and conclusion, this article offers a complete description about the background of the "Calligraphy of the Poem 'Huang-Chou Han Shi'" and then an in-depth analysis on the form of the "Calligraphy of the Poem 'Huang-Chou Han Shi'" so as to demonstrate its impressionistic beauty. Furthermore, an assessment is made on the "Calligraphy of the Poem 'Huang-Chou Han Shi'" to see its position in the history of calligraphy. The impressionistic beauty of Su Shih's "Calligraphy of the Poem 'Huang-Chou Han shi'" is a reflection of the calligrapher's character, feeling, knowledge and cultivation". It is the results of the calligrapher's understanding about lift and his observation of nature, and also a timeless, spiritual conversation between the master and modern people.