石渠寶笈初編(養心殿),上冊,頁467&*故宮書畫錄(卷三),第一冊,頁269&*1.朱惠良,〈元金聲書錢譜賦〉,收入《雲間書派特展圖錄》(臺北:國立故宮博物院,1994年初版),頁128-130。 &*金聲(活動於西元十四世紀後期),江蘇華亭人,字彥振,生平待考。本幅作於至正廿六年(西元一三六六年),為元明人題錢譜雜文冊之七。錢譜為金聲之姊丈姚元澤所集,原稱古泉譜。姚氏為松江名醫,因感於名士楊維禎常嘆由古今泉貨之變而知世變,乃集古今泉布而冊之,以痛世變之變。冊成,廣求當時名流文士題識,諸題識清楚反映出元末亂世文人之胸懷。本幅小楷書長賦,筆法古拙,結字扁方,攲側錯落,透露出鍾繇之影響。 &*Chin Sheng (act. Second half 14th century, style name Yen-chen) was a native of Hua-t’ing, Kiangsu province. This poem which he wrote in 1366 is the seventh colophon to the Album Ch’ien-p’u. This album, arranged by Yao Yuan-tze, the husband of Chin’s older sister, was originally called Ku-ch’uan-p’u. Yao Yuan-tze was a famous medical doctor in the Sung-chiang area. Because he often heard Yang Wei-chen sigh about how one can tell the changes in the world through the changes in money, he collected into an album money from the past and present in order to chronicle the changes that had occurred over time. He also solicited colophons from all the famous literati. Their colophons clearly reflect their feelings during the turmoil at the end of Yuan dynasty. Chin Sheng has used small standard script to write a prose poem. The brushwork possesses a natural awkwardness, and the characters are rather squat and square. They are also organized in a slightly disorderly fashion, revealing Chung Yu’s influence.