石渠寶笈初編(養心殿),上冊,頁640&*張雨(西元一二八三-一三五0),浙江錢塘人。字伯雨,又號句曲外史。曾為茅山道士,他的藝文造詣很高,對元代後期的書畫,頗有影響力。 張雨曾從學於趙孟頫,行楷處處可見趙氏書風的影響,但是本軸卻一反唯美風格,而出之以奇崛狂怪。通篇偶見歐陽詢的結體,但字形排列如醉漢移步,用墨時濃而枯,可視為道士縱酒後,所捕捉到心靈脈動的痕跡,或追求浪漫的神來之筆。&*Chang Yü was a native of Chekiang and a Taoist who resided at Mao-shan in Kiangsu. Gifted in the arts, his painting and calligraphy were influential in the late Yüan. Chang Yü once studied calligraphy under Chao Meng-fu, and his running and standard scripts clearly reveal Chao's influence. This scroll, however, goes against traditional standards of beauty to reveal a wilder and bolder side. The manner of Ouyang Hsün is sometimes seen, but the characters appear to have been composed as if in a drunken stupor. Ind ranges from dark to dry as if this Taoist had just awoken from intoxication to capture the fleeting traces of inspiration, thus accounting for the spirited and charged brushwork of the piece.&*1.王耀庭,〈元張雨書七言律詩〉,收入王耀庭、許郭璜、陳階晉編,《故宮書畫菁華特輯》(臺北:國立故宮博物院,1987年初版,2001年再版),頁42-43。 2.〈元張雨七言律詩〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁183。 3.王耀庭,〈書畫菁華特展 — 張雨七言律詩〉,《故宮文物月刊》,第163期(1996年10月),頁45。