石渠寶笈續編(養心殿),第二冊,頁1072&*故宮書畫錄(卷一),第一冊,頁131 &*董其昌(西元一五五五-一六三六年),字玄宰,號思白,江蘇華亭人。萬曆十七年(一五八九)進士,官至禮部尚書,諡文敏。天才雋逸,善書畫,富收藏,尤精鑑賞。臨摹書蹟,至忘寢食。行楷之妙,稱絕一代。本卷未署年,據所鈐「太史氏」印,當為六十八歲以前之作。董氏所臨十七帖多達數十本,此卷亦如其一貫以意臨帖之方式,不盡依照原本,每有誤字漏字現象。結字大都拉長,筆法則多變方為圓,變鈍為尖。然形貌容或略有出入,右軍之瀟灑優雅,卻未減分毫。&*Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsüan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. Although this hadscroll is undated, the "t'ai-shih-shih" seal impressed on the work suggests that it was written before Tung was sixty-eight sui. Tung freehand copied the Shih-ch'i-t'ieh twenty to thirty times; this particular scroll also seems to be one of these copies. These scrolls were written according to the general idea of the Shih-ch'i-t'ieh, but the artist did not strictly rely on the original. Each one possesses mistakes and missing characters. Tung has extended the structure of most characters, has altered square brushstrokes to round ones, and has changed blunt strokes into sharp ones. There are also some inconsistencies in the form of the characters, but they are not too far removed from Wang Hsi-chih's dashing and elegant style. &*1.何傳馨,〈明董其昌臨十七帖〉,收入何傳馨編,《書法之美特展圖錄》(臺北:國立故宮博物院,1992年五月初版一刷),頁78-79。