傳統文人頗多兼具詩書雙絶，甚或詩書畫三絶者，其人復以在地人身分，書寫家鄉之美，其為飽郁情思及自得之趣，乃理所當然耳。其次，藉由哲理修為，人文關懷及藝術之眼光，觀照江山之美，風雲之態，與夫文明薈萃之景觀，乃能孕育為詩文，綻放為書藝，而甚有可觀也。地景暗含人類對大地的集體塑造，地景反映各地社會文化的信仰、實踐和技術。由於這些文化的匯集，透過地景詩歌，可以增進吾人對歷史文化的認識，對社會人民生活的關注，及對自然景觀生態的維護。本文即以近、現代及當代台灣書法家之古典詩作，擇取其中涉及地景描寫，同時又以書法型態予以表現者，作為研究對象。分為三期，加以歸類，剖析其中詩歌內涵特色，兼及其書藝表現之探討。惜乎此一詩、書兼擅之文人傳統，日益式微，兩皆失落矣，委實令人歎惋﹗尋繹典型，探析軌範，藉以昭示後學，且以自勉，此本文之所為作也。冀望學界有志之士，能正視此一優良傳統，並亟思繼承與發揚之道。 The landscapes in the poetry reflect the culture and social beliefs and arts in the localization process. It is important to recognize what landscapes showed in the poetry and its cultural values. In this essay, the author concludes the Chinese calligrapher in Taiwan into three periods and chooses three masters as models. And the author analyzes their landscapes in their poetry to highlight their characteristics both in poetic contents and the calligraphic artistry.
