石渠寶笈三編(延春閣),第四冊,頁1890 &*故宮書畫錄(卷一),第一冊,頁115-117 &*故宮歷代法書全集,第六冊,頁187-213、227&*文徵明(西元一四七0至一五五九年),江蘇蘇州人。初名壁,四十二歲後以字行,改字徵仲。因祖籍湖南,故自號衡山居士。學書於李應禎,並廣泛臨習前代名跡,終能兼擅各體書法。傳世者以行草居多,論者謂其行筆得力於蘇(軾)、黃(庭堅)、米(芾)及「聖教序」,結體蒼潤,宛若風舞瓊花,泉鳴竹澗。 本幅凡四十八行,共一四九字,寫燈花與焚香七絕二首,為八十一歲所作,字大如核桃,且筆畫蒼老,饒有黃庭堅餘意。 &*Wen Cheng-ming (1470-1559)was a native of Ch’ang-chou, Kiangsu. He studied calligraphy with Li Ying-chen (1431-1493) and successfully emulated the calligraphic styles of many old masters. Of his surviving works, pieces written in the running and grass scripts are most numerous. It has been said that his running script derives its force from the styles of Su Shih (1036-1101), Huang T’ing-chien, Mi Fu (1052-1107), and Wang Hsi-chih (309-ca. 365), forming a style which is mature and powerful yet flows and dances. Wen Cheng-ming wrote this 149-character piece in 48 lines when he was eighty years of age. In large characters Wen has rendered two poems in lines of seven characters: Flowers of Light and Burning Incense. The rich, mature brushwork suggest the influence of the style Huang T’ing-chien (1045-1105). &*1.江兆申,〈文徵明自書詩 卷〉,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313。