在中國書法的創作和收藏中，應酬書法是一個極為普遍但又從未被學者們認真加以研究的現象。我們完仕可以這樣說，在現在的中國古代書法作品、特別是明清以後的作品中，除去書家們的信札和日課作品，為應酬而創作的品在數量上是遠遠多於為適情自娛而創作的作品的。明末清初書法家傅山（一六０七─一六八四）一生書寫了數量極多的應酬書法並留下了許多關於應酬書法的文字。而許多這樣的作品和文字又多和他的摯友、清初北方著名的藝術收藏家戴廷栻直接有關。本文即從傅山和戴廷栻的交往入手，引出中國書法藝術中應酬作品這個藝術社會史的問題，並在對這個問題的描述和分析之上，進一步探討一個理論性的問題，即中國書法中的修辭問題。

　　　　　Ying-ch'ou (here tentatively defined as making works of art for various social occasions) is a common phenomenon in Chinese calligraphy but also the one least studied. The late Ming-early Ch'ing calligrapher Fu Shan and his close friend Tai T'ing-shih not only left us many ying-ch'ou calligraphic works but also discussions about them, providing a basis for an in-depth study of ying-ch'ou. Based on an analysis of ying-ch'ou, this article goes on to discuss the issue of rhetoric in Chinese calligraphy, challenging the concept of shi-wei-hsin-hua, or "calligraphy as traces of the mind." The article has three sections. The first provides detailed biographical information on Tai T'ing-shih, the most important cultural patron in Shansi Province in the early Ch'ing, and on his relationship with Fu Shan. The second section discusses Fu Shan's ying-ch'ou calligraphy, while the last amplifies the problem of rhetoric in Chinese calligraphy.