石渠寶笈續編(重華宮),第三冊,頁1672-1676 &*故宮書畫錄(卷三),第一冊,頁146-151 &*故宮歷代法書全集,第十一冊,頁40-63、193-195&*1.何傳馨,〈蘇軾次辯才韻詩〉,收入林柏亭主編,《大觀- 北宋書畫特展》(臺北:國立故宮博物院,2006年初版一刷),頁361- 363。 2.何傳馨,〈過溪二老 — 蘇軾次辯才和尚韻詩與書法〉,《故宮文物月刊》,第279期(2006年6月),頁62-67。 &*以詩文投贈唱和,在古代文人士大夫之間經常可見,透過詩文一來一往,既可切磋學問,又能增進彼此的情誼。宋代文學大家蘇軾,也曾與辯才法師詩文唱和,其中的趣味第三者同樣可以分享。 辯才法師俗名徐元淨,精研佛理,在杭州講經說法多年,與蘇軾相處十分融洽。由於深知蘇軾才學過人,懷抱濟世的理想,辯才曾經作詩加以期許,鼓勵蘇軾專心政事,造福國家人民。蘇軾感念這分心意,因此次韻成詩,作為回應。詩中以陶淵明與慧遠法師的友誼來比況,推崇辯才,慨稱自己有愧陶淵明。此時蘇軾五十五歲,知杭州。蘇軾,字子瞻,號東坡居士,四川眉山人。在文學史上,推為唐宋八大家之一;在書法史上,也同時名列宋四家之一。這件作品,兼有詩文、書法之美,也可以感受到蘇軾坦率真誠的個性。(王競雄) &*辯才和尚(1011-1091)俗姓徐,名元淨,原為杭州天竺寺住持,1080年退居西湖龍井壽聖院。蘇軾於1089年出任杭州太守,與辯才交往,贈詩倡和,猶如東晉時陶淵明與僧慧遠的交遊。此幅楷中帶行,含蓄內斂,重意韻而不逞巧,是蘇軾中年時期成熟書風的典型例子。 蘇軾(1037-1101),四川眉山人。嘉祐二年(1057)進士。他兼善詩文、繪畫、書法,與蔡襄、黃庭堅、米芾並稱北宋四大書家。(20061206)&*Su Shih, a native of Mei-shan in Szechwan, passed the civil service examinations and became a Presented Scholar in 1057. Renowned for his literary talents, he was equally gifted at poetry, painting, and calligraphy, in the latter of which he was known along with Ts'ai Hsiang, Huang T'ing-chien, and Mi Fu as one of the Four Masters of the Northern Sung. The monk Pien-ts'ai (1011-1091), who went by the common surname of Hsü and the personal name Yüan-ching, was the abbot of T'ien-chu Temple in Hangchow. In 1080, he retired to the Lung-ching shou-sheng Monastery at West Lake at Hangchow. In 1089, when Su Shih was serving as Prefect of Hangchow, he had a chance to associate with Pien-ts'ai, presenting him with harmonizing poetry and enjoying a friendship similar to that in the Eastern Chin period between the great poet T'ao Yüan-ming and the monk Hui-yüan. This letter in regular script also bears elements of running script, the manner being somewhat introverted. Focusing on internal harmony rather than outward skill, this is a typical example of Su Shih’s mature calligraphic style from his middle years.(20061206)