故宮書畫錄(卷一),第一冊,頁104&*故宮歷代法書全集,第五冊,頁117-138、226&*祝允明(1460-1526),字希哲,號枝山、枝指生。江蘇蘇州人。五歲能寫徑尺大字,擅長楷、行、草書,有「無所不學,無所不詣」之稱譽,晚年尤以狂草最引人注意。草書七言律詩〈鍾山〉、〈虎丘〉、〈太湖〉、〈包山〉等九首,凡九十七行,共計四百四十三字。詩也是出於祝允明所作,內容大致都是以江蘇蘇州近郊名勝為主旨,再加以發揮。本幅書寫在質地堅韌緊密的藏經紙上,此紙為熟紙,其特性是質地堅硬,縱筆揮寫草書,特別能顯露出強勁飛揚的筆勢。通幅字跡間的疏密佈列、點畫的連斷,以及筆勢的抑揚頓挫,用筆的輕重急徐等運筆的技巧,以及書意的表現上,都蘊含著豐富的變化。此卷並無年款,然以運筆豐腴圓轉,結字扁闊的特色來看,與本院藏嘉靖二年癸未(1523)年書的〈千文卷〉頗為相近,而更為流暢自然,是晚年極佳的作品。(許郭璜)&*石渠寶笈初編(御書房),下冊,頁937-938&*祝允明(西元一四六0-一五二六年),長洲(江蘇蘇州)人。字希哲,號枝山、枝指生。博學多才,書法博採晉唐各家之長,面貌多變,有明朝第一之稱。晚年以豪放縱逸的狂草享譽書壇。 本幅書寫七言律詩〈鍾山〉、〈虎丘〉、〈太湖〉、〈包山〉等九首,皆為祝氏所作,縱筆揮寫草書於藏經紙上,顯露出自然流暢的筆勢與豐腴圓轉的筆法。無論空間安排、用筆的輕重急徐,都蘊含著豐富的變化。 &*Chu Yün-ming, native to Ch’ang-chou (Soochow, Kiangsu), was widely learned and highly talented. In calligraphy he adopted the virtues of Chin and T’ang calligraphers for a wide variety of appearances, leading him to be called the best calligrapher of the Ming. In late years his unbridled cursive script was widely admired in calligraphy circles. This scroll is a transcription of 9 poems in 7-character regulated verse, including “Mt. Chung,” “Tiger Hill,” “Lake T’ai,” and “Pao-shan,” all composed by Chu. Wielding the brush in cursive script on sutra paper, it reveals the natural flow of the brush force and rich, rounded brushwork. Both the arrangement of space and variation in lightness and speed of the brush all reveal great abundance. &*1.許郭璜,〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(五) — 書法、圖書文獻〉,《故宮文物月刊》,第248期(2003年11月),頁14。