盛京書畫錄,第五冊,頁12&*故宮書畫錄(卷二),第一冊,頁11&*1.何傳馨,〈明文徵明草書七言詩〉,收入何傳馨編,《書法之美特展圖錄》(臺北:國立故宮博物院,1992年五月初版一刷),頁85-86。 &*文徵明(西元一四七0-一五五九年),江蘇長洲人。字徵仲,號衡山居士。五十四歲以歲貢到北京,任翰林院待詔,參與撰寫﹝武宗實錄﹞,後來厭倦京師生活,回到故里,專意藝事,年九十卒。他在詩文和書畫方面都有很高的造詣,是明代中葉蘇州畫壇的領袖。 文徵明善各體書,行、草宗王羲之傳統,學黃庭堅、趙孟頫。本幅大字行草,是本色書,用筆勁健流暢,氣勢通貫全幅。詩句提到太平山寺,應是描寫暮春三月,遊覽蘇州城郊所見。 &*Wen Cheng-ming (style name Cheng-chug, sobriquet Heng-shan chu-shih) was a native of Ch’ang-chou, Kiangsu provice. When he was fifty-three, he went to Peking to serve as an academician in the Hanlin Academy and participated in the compilation of the Veritable Records of the Emperor Wu-tsung. Afterwards, he grew disillusioned with his official lifestyle in Peking, returned to his hometown, and took up the life of a literatus. Living to the age of eighty-nine, he excelled as a poet, essayist, calligrapher, and artist, and became a leader in the artistic community of Suchou during the middle Ming period. Wen Cheng-ming was a calligrapher skilled in all script types. For running or semi-cursive and cursive scripts, he followed the tradition of Wang Hsi-chih and studied Huang T’ing-chien and Chao Meng-fu. In this hanging scroll, he has written large characters in running cursive calligraphy, fully revealing his own style. The brushwork is strong, tensile, and fluid, and a kind of energy permeates the entire work. In the poem, he mentions a monastery on Mt. T’ai-p’ing which he probably saw in the environs of Suchou during late spring.