本文以張旭醉中狂草為例，嘗試從另一個角度檢視中國書法中自然隨性放逸書寫的美感經驗與酒，酒醉的休閑生活經驗之關聯。本文將參照杜威的實用主義的美學理論，尤其《藝術即經
驗》中與藝術表現的自發性相關的論述。
本文主要由四部份組成，第一部份討論張旭草書中的醉狂與放逸書寫，第二部份嘗試從四個不同的層面來理解「瘋」、「狂」、「癲」的藝術經驗，第三部份將涉及藝術創作中自發性與靈感之關係，第四部份將論及自發性和休閒活動及藝術創作中的自由。
此外，本文亦將呈現若干中國美學思想和實用主義美學的共同取向。

On the basis of the example of “Zhang Xu calligraphying in
drunkenness”, this paper attempts to examine the relationship between spontaneous aesthetic experience in Chinese calligraphy and leisure experience of everyday life, especially associated with wine and drunkenness; as the core of the aesthetic thought of John Dewey exists in the emphasis of continuity between practical life and art, between daily experience and aesthetic experience, that is why the paper also tries to put into light the aesthetic thought of John Dewey, mainly as formulated in his work Art as Experience.
This paper undertakes this study through four main sections: the first one is centered on drunkenness and spontaneous execution in “Zhang Xu‟s calligraphy; the second part focuses on the understanding of “mad, madness, unreasonability” in artistic experience in several dimensions; the third part discusses spontaneity and inspiration; and the last part examines the relationship between spontaneousness, leisure activity, and freedom in artistic creation.
The paper thus stresses several convergences between Chinese
aesthetic thought and pragmatic aesthetics.