书体:

草书

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

明思宗崇祯元年（1628）

文字类型:

汉文

质地:

本幅纸

释文:

千字文。勑员外郎散骑常侍周兴次韵。天地玄黄。宇宙洪荒。日月盈昊。辰宿列张。寒来暑往。秋收冬藏。闰馀成岁。律吕调阳。云腾致雨。露结为霜。金生丽水。玉出琨岗。劒号巨阙。珠称夜光。菓珍李柰。菜重芥薑。海咸河淡。鳞潜羽翔。龙师火帝。鸟官人皇。始制文字。乃服衣裳。推位逊国。有虞陶唐。弔民伐罪。周发殷汤。坐朝问道。垂拱平章。爱育黎首。臣伏戎羗。遐迩壹体。率宾归王。鸣凤在树。白驹食场。化被草木。赖及万方。盖此身发。四大五常。恭惟鞠养。岂敢毁伤。女慕贞洁。男効才良。知过必改。得能莫忘。罔谈彼短。靡恃已长。信使可复。器欲难量。墨悲丝染。诗讚羔羊。景行维贤。克念作圣。德建名立。形端表正。空谷传声。虚堂习听。祸因恶积。福缘善庆。尺璧非宝。寸隂是竞。资父事君。曰严与敬。孝当竭力。忠则尽命。临深履薄。夙兴温清。似兰斯馨。如松之盛。川流不息。渊澄取暎。容止若思。言辞安定。笃初诚美。慎终冝令。荣业所基。籍甚无竟。学优登仕。摄职从政。存以甘棠。去而益咏。乐殊贵贱。礼别尊卑。上和下睦。夫唱妇随。外受傅训。入奉母仪。诸姑伯叔。犹子比儿。孔怀兄弟。同气连枝。交友投分。切磨箴规。仁慈隐恻。造次弗离。节义廉退。颠沛匪亏。性静情逸。心动神疲。守真志满。逐物意移。坚持雅掺。好爵自縻。都邑华夏。东西二京。背茫面洛。浮渭据泾。宫殿盘欝。楼观飞惊。啚写禽兽。画䌽仙灵。丙舍傍启。甲帐对楹。肆莚设席。鼓瑟吹笙。升阶纳陛。弁转疑星。右通广内。左达承明。旣集坟典。亦聚群英。杜槀锺隶。漆书壁经。府罗将相。路侠槐卿。户封八县。家给千兵。高冠陪辇。驱毂振缨。卋禄侈富。车驾肥轻。策功茂实。勒碑刻铭。磻溪伊尹。佐时阿衡。奄宅曲阜。微旦熟营。桓公辅合。济弱扶倾。绮回汉惠。说感武丁。俊乂密勿。多士寔宁。晋楚更霸。赵魏困横。假途灭虢。践土会盟。何遵约法。韩弊烦刑。起翦颇牧。用军最精。宣威沙漠。驰誉丹青。九州禹迹。百郡秦并。岳宗泰岱。禅主云亭。鴈门紫塞。鸡田赤城。昆池碣石。钜野洞庭。旷远绵邈。巖岫杳冥。治本扵农。务兹稼穑。俶载南亩。我艺黍稷。税熟贡新。劝赏黜陟。孟轲敦素。史鱼秉直。庶几中庸。劳谦谨敕。聆音察理。鑑貌辨色。贻厥嘉猷。勉其秖植。省躬讥诫。宠增亢极。殆辱近耻。林皋幸即。两疏见机。解组谁逼。索居閒处。沉黙寂寥。求古寻论。散虑消摇。欣奏累遣。慼谢欢招。渠荷的历。园莽抽条。枇杷晚翠。梧桐早彫。陈根委翳。落叶飘飖。逰鹍独运。凌摩绛霄。躭读翫市。寓目囊箱。易輶攸畏。属耳垣墙。具膳餐饭。适口充膓。饱饭烹宰。饥厌糟糠。亲戚故旧。老少异粮。妾御绩纺。侍巾帷房。纨扇圆洁。银烛炜煌。昼眠夕寐。蓝笋象牀。弦歌酒讌。接杯举觞。矫手顿足。悦豫且康。嫡后嗣续。祭祀蒸甞。稽颡再拜。悚惧恐惶。牋牒简要。顾答审详。骸垢想浴。执热愿凉。驴骡犊特。骇跃超骧。诛斩贼盗。捕获叛亡。布射辽丸。嵇琴阮啸。恬笔伦纸。钧巧任钓。释纷利俗。并皆佳妙。毛施淑姿。工颦妍笑。年矢每催。曦晖晃曜。旋玑悬斡。晦魄环照。指薪脩祐。永绥吉劭。矩步引领。俯仰廊庙。束带矜庄。徘徊瞻眺。孤陋寡闻。愚蒙等诮。谓语助者。焉哉乎也。（草书）。右唐率更令欧阳询草书千文。宋榻本也。尚有楷书千文。刻于学宫。亦得之金陵。其纸墨不及草书之精莹。馀皆临之。戊辰（西元一六二八年）四月晦。其昌。（行书）。

印记资料:

作者印记：宗伯学士
作者印记：董氏玄宰
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别： 签；封面 ；书体：楷书；全文：董其昌倣欧阳询千文。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页831 收藏着录： 故宫书画录（卷三），第一册，页102-103 收藏着录： 故宫历代法书全集，第二十四册，页106-131、145-146 内容简介（中文）： 董其昌（1555－1636），字玄宰，华亭（今上海）人，官至礼部尚书，諡文敏。明代后期重要书、画及鑑藏评论家，长于楷、行、草书。款虽言此册临自唐欧阳询草书千字文，却自书己意，似乎将临书视为另一种创作方式。纸上钤有「白云院转轮大藏经」朱印，界以方格，然书家不为所限，时有出格连笔之作。全作用笔精熟，顿挫使转得宜，线条圆转流畅，不失为草书佳作。 内容简介（英文）： Dong Qichang (style name Xuanzai) was a native of Huating (modern Shanghai) who rose to the post of Minister of Rites and was posthumously awarded the name Wenmin. He was a major calligrapher, painter, connoisseur, and theorist of the late Ming, specializing in regular, running, and cursive scripts. Although Dong’s inscription states that this album imitates the “Thousand Character Classic” by Ouyang Xun of the Tang dynasty, it is in his own style instead, almost as if he took the notion of copying as a kind of creative expression. The paper was impressed with a seal in red characters reading, “White Cloud Monastery Turning the Wheel of the Tripitaka.” Although divided into squares, the calligrapher was not confined by them, his brush sometimes exceeding the boundaries. However, the brushwork thoroughly adept, the turns in the brush being well executed. The lines are also rounded and fluid, making this a fine work of cursive script calligraphy.