书体:

行书

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

明神宗万历四十一年（1613）

文字类型:

汉文

质地:

本幅纸

释文:

宋高宗赐太子兰亭帖手敕曰。学五百本。更易他帖。当时人主学书。至与寒士争功力乃尔。赵吴兴初师思陵书。今世传马夏画。多思陵题者。或云乐寿老人。皆高宗笔也。那咤拆肉还父。拆骨归还母。须有父母未生前身。始得楞严八还之义。所谓明还日月。暗还晦昧。不汝还者。非汝而谁。大慧师曰。犹如籍没尽。更向汝索钱贯。此喻更佳。今有穷子。向大富长者。称贷钱刀。俨然富家翁。若一一偿子钱。别有无尽藏。乃不贫乞。否则依然本相耳。此语馀以论书法。待学得右军大令虞褚颜柳。一一相似。若一一还羲献虞褚颜柳。譬如籍没还债已尽。何处开得一无尽藏。若学二王皮肉。还了辄无馀。若学右军之灵和。子敬之俊逸。此难描难画处。所谓不还者是汝也。　官帖十卷。犹如一大藏教。是如来禅。非祖师禅。我家杨少师帖。乃祖意也。宋时四家。于此发光。　章子厚日临兰亭帖一本。东坡诋之曰。从门入者不是家珍。子厚书必不高。此巖头点化峰雪存语也。雪峰通从前所悟。巖头一一刬之曰。汝向后欲播扬大教。须一一从自己胸中流出。盖天盖地去始得。学书者作如是观。乃不在前人脚根下盘旋。米老与人书论帖云。开卷间。云花满眼。此四字。是米老书旨。是他人药。亦是米老病。米书除豔态不尽故耳。山谷之书。以人品高得名。实未有功。但质素之意在耳。虽云学鹤铭。亦不相似。子瞻有偃笔之病。特饶秀色。九华之外。天下无秀。坡公书以之。蔡君谟学颜鲁公争坐位帖祭文二藁。绝似。但不能学送明远太冲二序笔法。然比之苏黄。最为心细。苏黄偏师取奇。以气自豪。海内尊尚。益助笔兴。非能深入山阴之室也。山东邢太仆子愿。与馀论书云。右军之后。惟赵文敏。独接正脉。此公书学。亦当世所希。第顶门眼未开。颇受法缚。遂有王赵并推之论。吾闻子昂得米老壮怀赋阙数行。自为拟米书补之。几度不似。乃掷笔歎曰。今人不如古远矣。若子昂直接右军。宁肯作此语。所谓如人饮水。冷暖自知也。　祝京兆书。人不知其所自出。馀于维扬见吴太学以褚河南草书阴符经见示。大叫唤曰。祝京兆衣钵也。吴太学曰。先人得之吴中。其前有枝指生图印。此经非停云所摹刻者。恨书家少见之。不能印馀语。　馀家所藏名迹。以怀仁圣教序为致佳。其次褚临禊帖。然惟唐文皇敕数十字。尤所宝爱。以其用墨。豪放取势。可推其意。学阁帖文皇诸书耳。法帖虽有宋搨二王小楷。及李北海徐季海诸古刻。至如颜鲁公乞米帖。马病帖。明远帖。杨少师挽定智大师诗。合浦散诗。洛阳风景诗。新步虚辞诗帖。与米元章小楷。皆如头目脑髓。时以自随。不胜护惜。昔人得萧子云一字。为之作斋。诸书皆堪构斋以名也。以羊毛画笔作书。差如意。遂能终卷。癸丑（西元一六一三年）四月廿八日。其昌。

印记资料:

作者印记：只在浮云最深处试凭弦管一吹开
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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2843 收藏着录： 故宫书画录（卷三），第一册，页123 参考书目： 1.朱惠良，〈董其昌法书展简介 之 明董其昌论书〉，《故宫文物月刊》，第121期（1993年4月），页46。 内容简介（中文）： 董其昌（西元一五五五－一六三六年），字玄宰，号思白，江苏华亭人。万历十七年（一五八九）进士，官至礼部尚书，諡文敏。天才隽逸，善书画，富收藏，尤精鑑赏。临摹书蹟，至忘寝食。行楷之妙，称绝一代。此册作于万历四十一年（一六一三），董其昌年五十九岁。时距董氏辞官于湖广提学副使之任，已近七年。是年董氏于江南各处游历，四月下旬以羊毛画笔书此册，论书理，品书迹，评书家。其以楞严八还义喻书法之精采理论，即收录于此册。 内容简介（英文）： Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsuan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. By the time this album was written in April of 1613, when Tung was fifty-nine sui, close to seven years had passed since he resigned from the service of Vice Commissioner of Education in southern China. During this year, Tung traveled throughout the region south of the Yangtze river and composed this piece using a goat-hair painting brush. The essay discusses theories of calligraphy, appraises past works, and criticizes calligraphers.