石渠寶笈三編(延春閣),第六冊,頁2617&*故宮書畫錄(卷三),第一冊,頁337-338&*1.王競雄,〈「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17。 &*徐渭(西元一五二一—一五九三年),浙江人,他集書法、繪畫、詩文及戲曲長才於一身,而一生際遇起伏乖舛,頗富戲劇性,表現在繪畫上,是縱情於水墨寫意;在書法上,則是師法宋代米芾,縱逸飛動。他自稱書法第一,詩文,繪畫其次,可見對書法的自負。 秋興八首是杜甫感時憂國的長篇巨製,明代書家好寫此篇,有的以強烈奔放的草書,誇示技藝;徐渭所書,則是委婉曲折,飽含張力,似乎更能傳達原詩深沉悲切的感覺。 &*Hsu Wei, a native of Chekiang province, was a gifted calligrapher, painter, poet, and playwright. His life was filled with dramatic ups and downs, which in painting is expressed through his unrestrained “sketching ideas” style done in ink. In calligraphy, he followed the style of the Sung calligrapher Mi Fu with his free and personal manner. “Eight Poems on Autumn” is a major work by Tu Fu (712-770) expressing concern over the chaos with the T'ang dynasty court at the time. Ming dynasty calligraphers particularly appreciated this work and often used unrestrained cursive script to show off their skills in transcription. Hsu's eloquent and tortuous calligraphy here is full of energy as if it is able to express the sincere and heartfelt sorrow found in Tu's poetry.