書法藝術是中國特有的一門藝術類別，他所代表的不只是文字本身的意義，同時也蘊含著文化傳承的特性。歷代書體的變革與書法理論的完成可以說是在唐代，這一時期不僅是國勢強盛，同時也是中國藝術發展的一個高峰。對於這一時期的書法面貌，在明朝以後常被以「法」的框架去做認識，然而，此一時期豐富而多樣的書法作品，是無法用簡單的一個法字來作概括式的認識。本文希望經由流傳於世的作品與書法理論作出了解，而去檢驗這一說法。本文第一章說明研究目的與方法，第二章對唐代這一時期引發書法的一些狀況作整理與分期，歸類出引發書法發展的社會狀況有1.朝廷對於書法研究的提倡與重視。2.文學與書法的相互輔助。3.書法理論的大量產生。第三章將唐代的書法作品依照各種書體分類作討論，整個唐代的書法作品分為承繼建立期、勃興發展期、衰退整理期等三期。第四章說明唐代書法理論，第五章作總結，說明唐代書法中「法」的意義，與文字符號的意義，並對重法的說法進行再認識。就整個唐代書法來看，本文所注意的並非是唯物思想下的社會與藝術的互動關係，而是社會底下真正突顯的精神表徵。歷史的進行，就中國而言，絕不是單純地在以需求作為進步的主因，相對的，他同時是一種不斷的吸納和反省，唐代之所以如此重要也正是因為這種觀念的充分發揮。是以本文主要是對唐代的書法發展做出以下的論證：後世以為唐代書法的「法」並非是一種限制，而是一種對於筆法的指導說明；唐代的書法也著重情感的表現，也基由此種方向導引，而使後來的書法發展有所典範。

Calligraphy, a unique category of art that China has possessed for years now, not only symbolizes the meaning of letter itself, but involves the characteristic of cultural tradition. The change of graphology and the face of calligraphy were completed in T'ang Dynasty. Meanwhile, T'ang's empire really maintained an extremely forceful power in politics and reached its peak in arts. As far as the face of Calligraphy in this period were concerned, it, after Ming, had been framed to be an idea: an emphasis on principle. Opulent and colorful pieces of calligraphy in T'ang possession, however, could not lead to a comprehensive understanding with a simple word "principle". As for the development of T'ang's Calligraphy, this text is trying to deliver the following dialectic: an emphasis on principle in descendants' opinion would be a kind of explanation at the direction of method of brush rather than a kind of limitation.
In the face with the whole T'ang's Calligraphy, this text will not pay so much attention on the interaction between society and art under a meterialistic ideology, as on a real symbol of spiritual representation in society. History on going, for China, doesn't simply explain its progression for the sake of necessity. On the contrary, it is a great performance of an idea constantly assimilating and introspecting, that leads T'ang to a significance.