石渠寶笈續編(養心殿),第二冊,頁1070-1072&*故宮書畫錄(卷三),第一冊,頁97-99&*故宮歷代法書全集,第二十四冊,頁14-27、142-143&*董其昌(西元一五五五-一六三六年),字玄宰,號思白,江蘇華亭人。書畫兼擅,其書風疏朗秀逸,自創一格,後世習者甚眾,行草為明代之冠。董其昌自十七歲學習書法以來,即有系統臨摹古人書蹟,終其一生無時不鑽研鍾王法帖。此冊為五十五歲所作,分別臨寫鍾繇〈力命表〉、〈墓田丙舍帖〉、〈戎路表〉、王羲之〈曹娥碑〉、王獻之〈洛神賦十三行〉等五段。董認為臨帖要參離合,不能太似或不似,此五段皆節臨,字句與原帖有出入,是掌握其精神的意臨。&*Tung Ch'i-ch'ang (style name Hsüan-tsai and sobriquet Ssu-pai) was a native of Hua-t'ing, Kiangsu . He excelled at both painting and calligraphy, the style of the latter being elegant and untrammelled in a manner all his own. Later generations have often studied his style, and his running-cursive script is considered the best of the Ming dynasty. From the time that he started studying calligraphy at the age of 16, Tung Ch'i-ch'ang systematically copied the styles and models of the ancients, focusing especially on those of the masters Chung Yu (151-230) and the Two Wangs (Wang Hsi-chih【303-379】and Wang Hsien-chih 【344-388】). This album was done at the age of 54 and includes his five copies of Chung Yu's "Li-ming piao," "Mu-t'ien ping-she t'ieh,"and "Rong-lu piao,"as well as Wang Hsi-chih's "Ts'ao-o pei" and Wang Hsien-chih's "'Lo-shen fu'in Thirteen Lines." Tung felt that copying such models required both distance and closeness, meaning that one should be neither too similar nor different from the original. Thus, although these five copies by Tung differ from the originals, they still preserve much of his style.