石渠寶笈三編(延春閣),第六冊,頁2621&*故宮書畫錄(卷三),第一冊,頁343-344&*1.何傳馨,〈明文彭草書詩〉,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92。 &*文彭(西元一四九八-一五七三年),長洲(今江蘇蘇州)人。字壽承,號三橋。徵明長子,少承家學,篆、分、真、行、草並佳,體體有法,並自成家。初學鍾、王,後效懷素,晚年則學孫過庭,而尤精篆、隸。此幅草書七言律詩一首,筆法流動,恍若行雲流水,一氣呵成。然筆墨腴潤,似出自軟毫之筆。其蕭散疏朗的書風,與祝允明之雄強勁健大異其趣。本幅選自「元明書翰」。(20100102)&*Wen Peng was a native of Changzhou (modern Suzhou, Kiangsu). The eldest son of Wen Zhengming, he followed the family tradition, excelling at all calligraphic scripts and forming his own style (though his skill did not quite equal his father’s). At first he studied the styles of Zhong You and Wang Xizhi, later incorporating Huaisu’s elements, and finally later learning from Sun Guoting’s style to master seal and clerical scripts. This leaf from “Yuan and Ming Calligraphy” is a 7-character regulated verse in cursive script. The brushwork flows like clouds and water, as if done in a single breath. Brushwork appears weak in places, probably because a soft brush was used. This elegant, leisurely style differs from the more formal, powerful one of Zhu Yunming.(20100102)