本文為李後主（937∼978）研究系列之三，旨在探討其書法、繪畫、文物收藏、音樂舞蹈、棋奕器用、及文房四寶等藝術活劫。後主從中主習得「撥鐙法」，並作〈書法〉，評論歷代書家。其書曾受歐陽詢（557∼641） 及柳公權（778∼865）影響，書風道勁，世稱「金錯刀」。後主又曾以顫筆法入土，唐希雅、周文矩並受其影響。後主兼擅墨竹、花鳥、人物、山水、走故，並曾題詩畫上，為後代詩、書、畫「三絕」之濫觴。書畫之外，後主兼擅音樂、舞蹈、棋奕，又擅於造景，講究器用，獎勵文房四寶之製作。其藝術品味高雅精緻，深入影響北宋皇室及士大夫階層。而其以書法入畫，及「三絕」之美學觀，經北宋士大夫士家之提倡後，主導後代文人畫創作之方向。執此之故，後主實可目之為中國近世文人藝術之導航者。

　　　　　This is the third in a series of papers on Li Hou-chu 李後主 (937-978), and focuses on six aspects of his artistic activities including calligraphy, painting, art collecting, designs for music and dance, and articles for the scholar's studio. As a calligrapher, Hou-chu mastered the "po-teng 撥燈 (lamp-stirring)" brush method and established his own calligraphic style, known as the "chin-is 'uo-tao 金錯刀 (metal-inlaid knife). A theorist, he also wrote an essay on calligraphy, entitled "Shu-shuil 書述 (A Statement on Calligraphy)," which conveys his comments on ancient masters' calligraphic styles. Famous painters like T'ang Hsi-ya 唐希雅 (act. 10th C.) and Chou Wen-chu 周文矩 (act. 10th C.) adopted Hou-chu's calligraphic "ch'an-pi 顫筆 (trembling brush) " techniques for their paintings in bird, flower, and figure genres, bird, flower, figure, landscape, and ink-bamboo paintings. He was one of the pioneers who tried to combine poetry, calligraphy, and painting into one work of art, referred to as the "Three Perfections (san-chtteh 三絕 )." A poet and essayist, Hou-chu also excelled in music, dance, and chess playing, and under his patronage, the manufacturing of ink, paper, and ink stone rose to its height. Although the fall ofthe Southern T'ang in 975 induced the destruction of most of Hou-chu's works of calligraphy and painting as well as of his art collection, his aesthetics have exerted a strong influence on Chinese scholars ever since the Northern Sung (960-1127) period.