石渠寶笈初編(養心殿),上冊,頁540 &*故宮書畫錄(卷一),第一冊,頁61&*米芾(西元1051-1108年),北宋書畫家、鑑賞家。初名黻,字元章,號鹿門居士、襄陽漫士、海岳外史,自元祐六年(1091年)起,改名芾,祖籍太原(今屬山西),遷襄陽(今湖北襄樊),世稱米襄陽,後定居潤州(今江蘇鎮江)。徽宗趙佶召為書畫學博士,官至禮部員外郎,人稱「米南宮」。有潔癖,多畜奇石。嘗於無為州治,見巨石,狀其醜,大喜,巨衣冠拜揖,呼之為「兄」,因舉止狂放,世稱「米顛」。不能與世隨和,故從政數困。能詩文,善書畫,精鑒別,好收藏名迹。行、草書博取前人所長,用筆俊邁豪放,有「風檣陣馬,沉著痛快」之評。&*米芾(西元一○五一-一一○七年),字元章,元祐六年(一○九一)改名芾,祖籍山西太原,遷襄陽(今湖北襄樊),後定居潤州(今江蘇鎮江)。善書畫,徽宗時官書畫學博士,書躋宋四家行列。 此帖作於崇寧元年壬午(一一○二)五月,值米芾晚居潤州之時,作品內容描述寶晉齋擺設奇石以及天降甘露的祥瑞異象。運筆任意自如,字形傾側多姿態,筆勢俊爽而渾樸,為晚年佳作。(20110101)&* Mi Fu’s ancestors came from Taiyuan, Shanxi but moved to Xiangyang (Xiangfan, Hubei). Mi later lived in Runzhou (modern Zhenjiang, Jiangsu). Style named Yuanzhang, he adopted Fu as his name in 1091. He excelled at painting and calligraphy, in the latter being ranked among the Four Song Masters. He also was Doctor of Painting and Calligraphy under Emperor Huizong. This letter was done in the fifth month of 1102 during Mi’s late years in Runzhou. The contents describe an exotic rock placed at his Baojin Studio and an auspicious omen of sweet dew from the heavens. The brushwork flows smoothly at will, the character forms slanting in many positions. The brush force is dashing yet simple, making this a masterpiece of Mi Fu’s late years.(20110101)&*1.王崇齊,〈米芾尺牘〈弊居帖〉的「分身術」〉,《故宮文物月刊》,第340期(2011年7月),頁108-118。