在古典書論中，「勢」敘述是相當重要的書學傳統，在不容易親臨、目睹墨跡的時代，透過「勢」敘述來了解書法，成了一種對書法線條美感詮釋的最佳途徑。本文主要以草書「勢」的敘述為例，以東漢崔瑗〈草書勢〉為起點，說明「勢」的各種指涉與想像。由於「勢」不容易用文字形容，因此書學家大量借用自然物象來啟發對「勢」的理解，這是一種超越技法表述的層次，也是一種對線條美感的體悟。因此本文先以較重的篇幅對崔瑗〈草書勢〉進行闡述，解析草書的「勢」敘述後，再進一步探討「勢」敘述的普及。並以索靖〈草書狀〉和蕭衍〈草書狀〉為例，說明「勢」敘述的轉變，解開「勢」敘述在閱讀上的盲點，最後以「勢的體會」代替「形的直觀」來作結。

In classical calligraphy, the narration of “shi” is a very important calligraphy tradition. In an era when ink marks are not easily seen, understanding calligraphy through “shi” narration has become the best way to interpret the beauty of calligraphy. This article takes the description of “shi” in cursive script as an example, and uses Cui Yuan’s “Shi in Cursive Script” of the Han Dynasty as a starting point to explain the various references and imaginations of “Shi”. Since “shi” is not easy to describe in words, calligraphers use a large number of natural objects to inspire their understanding of “shi”. This is a level that goes beyond technical expression and is also an understanding of the beauty of lines. Therefore, this article will fi rst elaborate on Cui Yuan’s “Shi” in cursive script at more length, analyze the “Shi” narrative in cursive script, and then further explore the popularization of “Shi” narrative. It also uses the texts of Suo Jing and Xiao Yan as examples to illustrate the transformation of the “shi” narrative, unraveling the blind spots in the reading of the “shi” narrative, and fi nally concludes with “the experience of the momentum” replacing the “intuition of the form”.