石渠寶笈三編(延春閣),第六冊,頁2583&*故宮書畫錄(卷三),第一冊,頁291&*故宮歷代法書全集,第十八冊,頁48-62、162-163&*1.江兆申,〈文徵明草書千字文 册〉,收入國立故宮博物院編,《吳派畫九十年展》(臺北:國立故宮博物院,1975年初版,1976年再版,1981年三版),頁308。 &*文徵明(1470-1559),長洲(今蘇州)人,初名壁,字徵明,後以字行,亦字徵仲,號停雲生、衡山居士。詩文書畫並佳,畫師沈周,為明四家之一。書法廣泛臨習前代名跡,終能兼擅各體書法。此冊書於嘉靖八年(1529),是文徵明六十歲所書,寫於「金粟山藏經紙」上,用筆勁挺銳利,嚴謹中有率意,線條或瘦硬挺拔,或圓潤飽滿,結體方圓並濟,遒勁中不失清和,為其千字文之代表作。選自〈元明書翰〉第十五冊。&*Wen Zhengming, a native of Changzhou (modern Suzhou), at first went by the name Bi and later took the style name Zhengming. He also had the style name Zhengzhong and the sobriquets Tingyun sheng and Hengshan jushi. Excelling at poetry, prose, calligraphy, and painting, in the latter he studied under Shen Zhou and eventually became one of the Four Ming Masters. In calligraphy, he copied from a wide range of ancient masterpieces, being finally able to combine the virtues of all scripts. This album, the fifteenth in “Albums of Yuan and Ming Calligraphy,” was done in 1529 when Wen was at the Chinese age of 60. Written on “Mt. Jinsu sutra paper,” the brushwork is forceful and sharp, having a sense of freedom in its regulation. The lines also appear thin and strong as well as round and moist. The characters likewise combine angularity and roundness, their power not lacking in purity. Thus, this is a representative example of Wen Zhengming’s “Thousand Character Classic.”