石渠寶笈三編(延春閣),第六冊,頁2698&*故宮書畫錄(卷一),第一冊,頁148-152&*康里巙巙(西元一二九五-一三四五年),西域康里氏。字子山,號正齋、恕叟,又號蓬累叟。順帝時為翰林學士承旨,諡文忠。博通群書,善真、行、草書。 書史謂康里巙巙行草師鍾太傅、王右軍,筆劃遒媚,轉折圓勁。又謂其書從大令來,旁及米南宮,神韻可愛。此牘兼用二王及米芾筆法,是早年書風,與其晚年參合章草筆意自成一格之面貌,大異其趣。&*K'ang-li Nao-nao (style name Tzu-shan; sobriquets Cheng-chai, Shu-sou, and P'eng-lei-sou) was Academician and Recipient of Edicts in the Hanlin Academy during the period of Emperor Shun (r. 1333-1368). He was given the posthumous title Wen-chung. His knowledge was extensive and he excelled in standard, semi-cursive, and cursive scripts. Calligraphy histories record that his semi-cursive and cursive scripts follow the styles of Chung Yu (151-230) and Wang Hsi-chih (307-365), and that in addition to his handsome brushwork, the twists and turns of his writing were round and forceful. Histories also record that his graceful calligraphy originated with Wang Hsien-chih (344-388) and Mi Fu (1051-1107). The style seen in this letter which is a representative of k'ang-li's early work combines the brush style of Wang Hsi-chih and Wang Hsien-chin, and Mi Fu. Its appearance differs considerably from the individualistic style of his later years which adopted some elements of the draft cursive script. &*1.陳階晉,〈康里巙巙(原題康里巙)致彥中尺牘〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁315-316。 2.陳階晉,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元康里巎巎(原題康里巎)致彥中尺牘〉,《故宮文物月刊》,第225期(2001年12月),頁32-33。