在中國書法發展史上，唐代是個關鍵性的時期；她不僅將楷書發展至登峰造極之境，創造至今仍無法超越的楷法極則；另外，由於南帖的發展，其行草的成就，亦頗為可觀。著名的書家非常多，其中顏真卿即是書法史上承先啟後的偉大書家。當他之時，書家點書，大約不取之鐘王，則脫胎於分隸，所以鋒芒畢露，勢盡則止；顏真卿則上取篆法，用圓筆藏鋒，結構寬博，後人有「顏筋柳骨」之稱，顏筋者，正指顏書隱藏在筆書中間特為繁複的使轉頓挫言之，後來宋代蔡襄、蘇軾、黃庭堅、米芾四家之筆法，皆嗣其法乳。顏真卿行草《祭姪稿》、《爭坐位帖》、《送蔡明遠帖》、《送劉使君帖》、《送裴將軍詩帖》，真跡皆尚存，均是書法史上的炫赫鉅作；其中《祭姪稿》為代表作，呈具遒勁秀挺，搶意盎然之美感。是故，本文共分六部分，除前言，結語之外，另分顏真卿生平概略、書學特色、《祭姪稿》情意美感分析，以及成就與評價等四項，籍此一窺顏真卿融和美感表現形式及情意內涵，所呈具一介忠臣為家為國憂慮悲憤之情懷風貌。

In Chinese history, Tan Dynasty was a critical period when the standard style of calligraphy reached the peak of development and the running style attained a splendid state. There were many famous calligraphers, and Yen Chen-Ching was one of the greatest influential calligraphers. In his times, most of the calligraphers imitated the handwriting of Chung Yao and Wang His-Shih or adopted the clerical style strokes; therefore, the handwriting was sharp and overpowering, not deep and profound. Yen Chen-Ching’s handwriting was different. He picked up the round strokes of seal type and exhibited complicated skills on the twists and turns of strokes, and so his handwriting was magnificent and sophisticated. Later in Sung Dynasty, the handwriting of Tasi Hsiang, Su Shih, Huang Ting-Chien, and Mi Fu all reflected the influence of Yen Chen-Ching. Yen Chen-Ching had great achievement in the standard style of calligraphy, and his running style handwriting was also important artwork. His “Lamentation for My Nephew” was a representative of masterpiece, not only expressing Yen Chen-Ching’s true and sincere love, but also showing a delicate, powerful, and poetic beauty. In this article, there are six parts. In addition to the preface and conclusion, the article contains a brief introduction of Yen Chen-Ching, characteristics of Yen’s calligraphy, analysis on feeling beauty of “Lamentation for My Nephew”, and evolution. It is the purpose of this article to see into Yen Chen-Ching’s combination of artistic form and poetic expression to expose a loyal official’s anxiety and sorrow for his country.