石渠寶笈初編(御書房),下冊,頁1094&*故宮書畫錄(卷二),第一冊,頁18&*Tung Ch'i-ch'ang was a native of Hua-t'ing, Kiangsu . He attained his chin-shih degree in 1588 and reached the position of Minister of the Ministry of Rites. Tung was born with natural gifts and superior intellectual faculties. He was particularly fond of calligraphy and painting, and in his youth spent countless hours copying the genuine works of old masters. His standard and semi-cursive scripts were recognized as the best of his generation, and Tung was known together with Hsing T'ung, Mi Wan-chung and Chang Jui-t'u as the greatest calligraphers of the time. Tung Ch'i-ch'ang's semi-sursive calligraphy is primarily derived from Wang Hsi-chih's two prefaces, Lan-t'ing and Sheng-chiao. Certain aspects from other calligraphers, however, are also used, and this allows Tung's calligraphy to define its own territory. This seven-character poem creates subtleties of light and dark, and is filled with rich, twisting movements of the brush that recall the methods of Wang Hsi-chih. It was written in 1628, when Tung was seventy-three.&*董其昌(一五五五-一六三六),字玄宰,號思白,華亭人。萬曆十六年進士,官至禮部尚書,諡文敏。天才俊逸,善談名理,少好書、畫,臨摹蹟,至忘寢食。行楷之妙,稱絕一代。同時以善書名者尚有邢侗、米萬鍾、張瑞圖,時人謂邢張米董,又曰南董北米。 董其昌行書得力於王羲之之蘭亭、聖教二序,又喜雜臨諸名家書,故能獨造奧妙。本幅書春日行七言詩,行筆用墨濃淡間,深得王書之意,豐姿神采,自有婉轉之致。自署年款戊辰,為其七十四歲之作。