書寫源於書寫者之精神意志，書寫者之自傳是「自我」與「他者」交流認識下的書寫，唐代懷素草書〈自敘帖〉的文化特色就在於：辯證性地說明人的生命歷程如何轉變為書寫歷程，而且透過書寫來印證作為：「書寫我」（自傳）即「我書寫」（草書），既說明又表現，這種現象對比一般自傳或書法或其他藝術創作類型都顯得別具意義。本文以唐代懷素〈自敘帖〉為文本，對此自傳文體形式之意義—「自我論」，進行對書法藝術所蘊含的幾點問題加以思考，一、〈自敘帖〉的自傳文體特性是作者與傳主身分合一，文字書寫所要摹仿的書面形象來自於自我認識與同時代他者互動下評價的記載；二、紀錄日常生活中明顯地將時間意識區分為二者：「作為主要社會身分的僧人活動∕餘暇的書寫精進」；三、以自傳內容及狂草書寫風格形式，合一而自信地凸顯個人在其時代書寫風氣下所達到的草聖境界；四、創作者對其書寫意識進行反省時，發現對展現創作歷程及其所獲得成就卻是來自於有待理解的「不確定的意識內容」；五、嘗試對其「不確定的意識內容」預測其可能。

Writing finds its root in the will of a writer. The writer’s autobiography designates a specific kind of writing, in which the understanding and communication of the ＂self＂ and the ＂other＂ are achieved. The cursive script of Huaisu, a Buddhist monk and calligrapher of the Tang Dynasty, manifests such cultural characteristics in his ＂Autobiographic Script.＂ The script explains to us the dialectical process how one’s life course is deftly transformed into that of writing. What the script testifies is the very phenomenon of writing itself: the ＂script of 'I'＂ (autobiography) means ＂I scribble＂ (cursive calligraphy); writing explains verbally and manifests itself visually. Writing as such is significant since it differs greatly from the writings of traditional autobiography, calligraphy, or other forms of artistic creativity. The paper dwells on Huaisu’s ＂Autobiographic Script,＂ explicating the nuance of autobiographic writing concerned. By addressing the core of autobiographic writing--the writing on the ＂self,＂ the paper deals with issues involving the art of calligraphy. First, it demonstrates how ＂Autobiographic Script＂ is characterized by the overlapping of the identities of a calligraphic author and an autobiographer. The visual content the script attempts to simulate refers to the recordings of Huaisu’s understanding of the ＂self＂ as well as his interactions with the ＂other＂ of his generation. Second, in his recordings of daily life, Huaisu’s sense of time is divided into two parts: one for ＂the activities of a social monk＂ and the other for ＂the refinement of calligraphic skills at one’s leisure.＂ Third, with the combination of the genre of autobiography and calligraphic style, Huaisau outshone his peers in the art of cursive calligraphy. Fourth, by examining the act of writing, we can surprisingly find that Huaisu’s sense of achievement derives from something to be explicated, that is, ＂the content of consciousness in question.＂ Fifth, the paper attempts to respond to ＂the content of consciousness in question＂ and presents to the reader what the content possibly designates.