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&*饒介(?-西元一三六七年),江西臨川人,字介之,號華蓋山樵、醉樵、浮丘公童子。倜儻豪放,能詩工書。自翰林應奉僉江浙廉訪司事,張士誠據吳,慕其名,召以為淮南行省參知政事,家采蓮涇上,日以觴詠為事。士誠敗,俘至京師,死之。饒介書遠師懷素與王獻之,近宗康里巙巙,史稱介草書飄逸,又謂其書圓勁暢朗,神追大令。本幅行書中峰明本像偈,作於至正廿五年(西元一三六五年),為晚年精品。書風疏朗秀逸,章草筆法雖不多,然輕靈自然,有畫龍點睛之妙。 本幅為元人雜書卷第六幅。&*Jao Chieh (style name Chieh-chih and sobriquets Hua-kai shan-chiao, Tsui-chiao, and Fu-ch'iu-kung t'ung-tzu) was a native of Lin-ch'uan, Kiangsi. Elegant and untrammelled by nature, he was a gifted calligrapher. In the last years of the Yuan dynasty, he served as Hanlin Academician and Surveillance Commissioner of the Chiang-Che Circuit. When Chang Shih-ch'eng took control of the region, he came to admire Jao's reputation and requested him to serve as Branch Secretariat and Magistrate of Huai-nan. Jao Chieh's style was loosely patterned after those of Huai-su (725-785) and Wang Hsien-chih (344-386), but he more closely followed that of K'ang-li Nao-nao (1295-1345). The traditional assessment of his cursive script is that it is free and casual, while his style appears rounded, taut, and flowing in a grand and spirited manner. This work in running script was done in praise of a portrait of the Zen master Chung-feng Ming-pen and was calligraphed in 1365, making it a late work of the artist. The characters flow across the surface in a light, natural and elegant manner. Although not many elements of the cursive style are found in this work, it nonetheless has a spirited touch. This is the sixth work from the handscroll "Assorted Calligraphy by Yuan Masters." &*1.朱惠良,〈元饒介書中峰幻住像偈〉,收入《雲間書派特展圖錄》(臺北:國立故宮博物院,1994年初版),頁133。