石渠寶笈三編(延春閣),第六冊,頁2790-2795&*摹刻晉唐小楷盛行於宋,以南宋初越州石邦哲所刊最著。學者多認為清李宗瀚藏〈晉唐帖十一種〉拓自石氏原石,較之院藏相同諸帖,特徵相符。〈樂毅論〉雍容和雅,筆畫精妙,字勢逸宕。〈孝女曹娥碑〉結字扁平有隸意,具古樸天真之趣。〈力命帖〉用筆簡樸,結體寬博,饒富古意。〈王羲之臨魏鍾繇丙舍帖〉點畫嫻雅生動,饒有天趣。後二帖未見收於李宗瀚藏本,然精妙處不減傳世諸佳本。(20120104)&*The copying and engraving Jin and Tang dynasty small regular script was popular in the Song dynasty, with early Southern Song versions by Shi Bangzhe in Yuezhou being the most famous. Many scholars feel that "Album of Jin and Tang Small Regular Script" in the Qing dynasty collection of Li Zonghan is a rubbing from Shi's original engraving. Compared to works in the National Palace Museum collection, its features agree well. "Yueyi Discourse," for example, has elegant and dignified fine strokes with leisurely characters. "Filial Lady Cao E's Stele" features flat characters and simple innocence like that of clerical script. "Liming," with its simple brushwork, has expansive characters of rich archaism. "Wang Xizhi's Copy of Zhong You's 'Bingshe'" is characterized by strokes that are graceful and lively. The latter two, not in Li Zonghan's version, are no worse than other fine surviving works.(20120104)&*宋代には晋唐時代の小楷の模刻が盛んに行われ、南宋初期越州石刻哲刊行のものが最も知られている。清代の李宗瀚が所蔵した「晋唐帖十一種」の原石は石氏のものだと考えられており、本院所蔵の同様の法帖と比べると、その特徴が一致する。「楽穀論」はゆったりとした中に趣深さが感じられる。筆画は精妙で、字勢には伸びやかな感がある。「孝女曹娥碑」の扁平な結字には隷意があり、古樸な趣を湛えている。「力命帖」の用筆は簡潔素朴な風があり、結体は大きく古意に満ちている。「王羲之臨魏鍾繇丙舍帖」は点画に優美さが漂い、自然な情趣に富んでいる。後者二帖は李宗瀚収蔵品ではないが、精妙な点は伝世の良作に劣らない。(20120104)