在記號和藝術現象當中，書法是相當獨特的一種，它既非具象，亦非抽象，既是由表意的文字所構成，又包含有趣味的知覺造型，它既似現象學所說的「表達」，又似是「指號」。書法這種種難以定位的含糊性格，使之難以套用習常的美學觀念和理論來掌握。 本文嘗試循著現象學思路，重新對書法創造活動和書法作品作哲學分析與描述，並初步勾勒出一門書法現象學美學的概要。本文的分析包含兩個部分。首先，我們會從靜態的、結構的層次，透過對比於書寫及其他藝術形式，闡釋書法現象所涉及的「能所對應」的特點。其次，我們會從靜態的、發生的層次，就意義建構的角度追溯書法在時間性與歷史性的統一性。我們的分析旨在揭示，書法藝術的發生乃指向於文字記號的「舉止意義」之解放。

Chinese calligraphy is a very distinctive semiotic and artistic phenomenon. It seems to be neither figurative nor abstract; it consists of characters that express meanings which are ideal, but at the same time it is composed of perceptible forms which call for the viewer’s full attention to their individualities; phenomenology draws a sharp contrast between “expression” and “indication,” but calligraphy seems to be both at once. The ambiguity of Chinese calligraphy makes it a perplexing theme for traditional aesthetic theories. In this paper, I analyze calligraphy from a phenomenological approach. My analysis is divided into two parts. The first part is a static and structural analysis. I describe the “noetic-noematic” correlation of the calligraphic experience, contrasting it with similar art forms as well as with writing in general. In the second part, I analyze the phenomenon of calligraphy dynamically and genetically. The construction of the meaning of calligraphy will be traced back to the unity of calligraphic actions on both temporal and historical levels. It will be shown that the genesis of calligraphic art is a movement aimed at the emancipation of the ? “gestural meaning” embodied in the phenomenon of writing.