石渠寶笈三編(延春閣),第六冊,頁2552-2556&*故宮書畫錄(卷三),第一冊,頁244-249&*1.朱惠良,〈元陶宗儀篆書〉,收入《雲間書派特展圖錄》(臺北:國立故宮博物院,1994年初版),頁136-137。 2.陳韻如,〈元陶宗儀書詩經五章〉,收入何傳馨主編,《山水合璧:黃公望與富春山居圖特展》(臺北:國立故宮博物院,2011年五月初版一刷),頁334。 &*陶宗儀(1316-?)字九成,號南邨,浙江黃巖人。元末居松江地區,永樂元年(1403)仍在世。纂述豐富,至正二十七年(1367)序的《輟耕錄》收錄黃公望〈寫山水訣〉。〈寫山水訣〉對樹石、山脈、佈景、材質用色皆有講究,是黃公望傳授畫藝的法則依據。此篆書《詩經》〈棫樸〉,以中鋒圓勁線條為主,又有帶折角的方筆,形成圓勁中別具力道的獨特效果。此與趙孟頫等人勻淨線條不同,另有一種古樸趣味。(20110609)&*Tao Zongyi (style name Jiucheng, sobriquet Nancun), who lived in the Songjiang area in the late Yuan, was still alive in 1403 during the early Ming dynasty. A prolific compiler, he included Huang Gongwang’s text “Secrets to Depicting Landscapes” in his Records in Leisure from Tilling. “Secrets to Depicting Landscapes” is a fastidious account of trees, mountain chains, arrangements, materials and coloring, making it an important foundation for the rules of painting that Huang Gongwang passed down. This transcription of the “Yu and Pu” poems from The Book of Poetry in seal script is done mostly with strong and rounded lines using centered brushwork, to which has been added some slanted brushwork done at an angle, giving the round strength a unique effect. This differs from the clean and even lines of such calligraphers as Zhao Mengfu, thereby presenting an alternative interest in primitive simplicity.(20110609)