結束五代紛亂局面的宋代，書壇上經過宋初的沈寂，幸賴歷任酷愛書法的君王大力提倡，以及兼具詩詞書畫的文人書家輩出；例如蔡襄、蘇軾、黃庭堅、米芾，世稱「宋四家」；使得行草書不僅大為盛行，更開創了尚意書風。將行草書於王羲之、獻之父子秀麗遒勁風格之外，創造出氣勢雄渾磅礡的大行草，拓展行草書繁複的新形式與多元的新境界，對當世及後代影響甚鉅。 《珊瑚帖》是米芾將書法、文學、繪畫融為一體的行草佳作。其運用藝術美感形式：對比、均衡、統調等原則，以及書法筆畫線條、字體結構、布局安排、墨色變化，再加上繪有珊瑚圖畫之圖像，呈具書法豐富的視覺效果，創造此帖表現形式上的獨特藝術美感。因此，本文除前言、結語外，分從米芾書寫理論特色、行草風格、《珊瑚帖》形式美感分析三項，研究此帖在表現形式上的美感風貌。

The handwriting cursive style for the calligraphy prevalied over the Song dynasty. Mi Yuan Zhang (1051-1107) was counted as one of the Four Great Calligraphers in this era. Mi's calligraphic writings are analogous to brushwork, requiring remarkable creative techniques to demonstrate the great aroma and verve. Mi presented an outstanding, handwriting-style calligraphic copybook, “Sun-Hu Tie”, which integrated with calligraphy, literature and Chinese painting. In this copybook, Mi applied the principles of the aesthetic perception; namely, the contrast, the balance, and the unity. In addition, he also designed calligraphic contours, character structures, the calligraphy layout, a tone of ink changes, as well as coral-like skeleton paintings. As a consequence, Mi's “Sun-Hu Tie” had demonstrated a unique manifestation of the aesthetic perception in formality, enriching the visually plausible effects for the calligraphy. This paper discusses the manifestation of the aesthetic perception inside the “Sun-Hu Tie.” In particular, we present our investigation results from four aspects, including Mi Yuan Zhang's calligraphy study progress, the appearanace of the handwriting cursive style, the characteristics of calligraphic theories, and the aesthetic sensibility of calligraphy.