石渠寶笈初編(養心殿),上冊,頁471-472&*故宮書畫錄(卷三),第一冊,頁227-231&*1.何傳馨,〈趙孟頫鮮于樞墨蹟合冊〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁300-301。 2.何傳馨,〈大汗的世紀 趙孟頫鮮于樞墨蹟合冊〉,《故宮文物月刊》,第223期(2001年10月),頁17-18。 3.何傳馨,〈元鮮于樞論張旭懷素高閑草書〉,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77。 4.何傳馨,〈大汗的世紀 趙孟頫鮮于樞墨蹟合冊〉,《故宮文物月刊》,第223期(2001年10月),頁18-19。 &*趙孟頫(西元一二五四-一三二二年),字子昂,號松雪道人,吳興人。宋宗室後裔,入元後仕至翰林學士承旨。工書善畫,冠絕一時。其行書直追二王,深得晉人風範神韻,為元代書壇領袖。本次選展兩開,其一為告知鮮于樞張冶中藏有唐虞世南〈枕臥帖〉;其二是抄錄《新唐書》〈裴行儉傳〉有關裴氏書法成就的文字。體勢清新俊逸,行筆圓韻流暢,乃趙書中精好之作。選自趙孟頫、鮮于樞墨蹟合冊。 &*Chao Meng-fu (native to Wu-hsing) was a Sung imperial descendant and appointed under the Yüan as a Hanlin Academician. Unparalleled at painting and calligraphy at the time, his running script goes back to the Two Wangs (Wang Hsi-chih and Wang Hsien-chih), reaching the spirit of Chin styles as he led Yüan calligraphy circles. In the two leaves from an album by Chao and Hsien-yü Shu chosen for this exhibit, one is a note to Hsien-yü about Yü Shih-nan’s “Chen-wo” work in Chang Chih-chung’s collection. The other is a copy from “Biography of P’ei Hsing-chien” in New History of the T’ang about P’ei’s achievements in calligraphy. The characters here are brisk and lofty, the brushwork rounded and fluent, making them great works of Chao’s calligraphy.