本文探討古典文人詩書畫的草稿思維與實踐。首先探討中國詩書畫以稿為作的「稿」的多重含義指涉，解說其中所隱含的草稿思維的涵蘊。其次，探討古典文人以仿為作的書畫實踐的「仿」與「擬」的象外美學思維，及其影射的草稿書寫的意義，第三，從跨文化的角度探討中西方草稿殘缺∕不完整性，在不同文化語境下的草稿思維，藉以揭示草稿在當代藝術創作行動中的張力，以及作品即草稿的中西美學含義。

This paper aims to re-examine the various meaning sof “gao/sketch” in Chinese literati’s poetry and painting in theory and in practice. Firstly, it investigates the tension between making and sketching in taking Yan Zhenqing’s caliigraphy Ji zhi wen gao(祭姪文稿), Lu You’s anthology of poems Jian nan shi gao(劍南詩稿) and Wang Yangming’s parting poem,(若耶溪送友詩稿) A drafted poem: Seeing off a Friend on the river of Ruoye, as examples to rethink the connotations of gao as works and as agency of making in Chinese literati culture. Secondly, it explores the alternative functions of gao as pattern of making in the context of trans-mimetic aesthetics in the literati tradition, emphasizing the value of fang gu(仿古) / ni gu(擬古) imitation of the Past. Third, it discusses the poetic power of incompleteness of sketch both in Chinese and Western culture to see the different interpretations of sketch via the cross-cultural reading and rethinking the artistic values of sketch in contemporary aesthetics.