石渠寶笈續編(重華宮),第三冊,頁1519-1523&故宮書畫錄(卷一),第一冊,頁55-60&米芾(西元一0五一-一一0八年)字元章,湖北襄陽人,世稱米南宮,是北宋著名的詩人、書法畫家、收藏家,與蔡襄、蘇軾、黃庭堅並列北宋四大書法家。 此卷所用蜀素是十分珍貴的絹,於神宗慶曆時在四川所造。米芾的字受王獻之影響最深,有一種俊逸疏爽之氣,在北宋四大家中,米字的筆法和速度最靈活而有變化。此卷雖書於烏絲界欄內,但行筆飛揚恣肆、神采生動,絲毫不為格式所拘。&Mi Fu, a native of Hupeh province, was a famous poet, painter, calligrapher, and collector of the Northern Sung. Along with Ts'ai Hsiang, Su Shih, and Huang T'ing-chien, he is one of the Four Northern Sung Masters of Calligraphy. This handscroll of precious Szechwan silk was made in 1044 under Emperor Jen-tsung. Mi's characters were strongly influenced by those of Wang Hsien-chih and have an untrammeled and expansive feeling. Among the Four Masters, the brushwork and speed in Mi's characters are the most lively and varied. Although done here within fine lines of black ink, Mi's running script flies with spirit and energy that is unrestricted by the guidelines.&米芾(西元一0五一─一一0七年),湖北襄陽人。字元章,號鹿門居士、襄陽漫士、米南宮等。為人倜儻不羈,世稱米顛。書法以二王、顏真卿為骨幹。 據卷上題識言,米此書之絹乃東川地方所織造,而東川即四川梓潼,故有「蜀素」之謂。明董其昌評此帖為如獅之捉象,以全力赴之。運筆提頓之間,皆在在顯示出其自言「振迅,天真出於意外」與「獨得四面」之特色。