收藏著錄@#@石渠寶笈三編(御書房),第七冊,頁3115@#@@#@收藏著錄@#@故宮書畫錄(卷二),第一冊,頁11-12@#@@#@參考書目@#@1.許郭璜,〈明王寵詩帖〉,收入許郭璜主編,《王寵書法特展圖錄》(臺北:國立故宮博物院,1992年七月初版一刷),頁131。
@#@@#@內容簡介(中文)@#@王寵(西元一四九四-一五三三年),長洲(今江蘇蘇州)人。字履仁,又字履吉,號雅宜山人。書法初學蔡羽,楷書後師虞世南、智永;行書學王獻之。與祝允明、文徵明同被譽為「吳中三家」。
本幅草書七言律詩二首,結字內歛少舒展,俯仰欹側變化不大。用筆起伏頓按急遽有力,筆勢凝重洗練,乾淨利落,一絲不苟。通幅筆劃之間鮮有連筆牽絲,字的體勢雖多不環連,但全篇卻血脈不斷。@#@@#@內容簡介(英文)@#@Wang Chong (style names Lüren, Lüji; sobriquet Yayi shanren), native to Changzhou (modern Suzhou, Jiangsu), began his study of calligraphy with Cai Yu, his regular script later following Yu Shinan and Zhiyong, and his running script patterned after Wang Xizhi’s. With Zhu Yunming and Wen Zhengming, Wang was one of the Three Masters of Wu. The two seven-character regulated poems in cursive script here have forms reserved and not expansive, with variations to the slanting characters not very pronounced. The rise and fall of undulating brushwork is rapid and forceful, the force concentrated and refined for a sharp, clean manner with nothing missing. Though the characters do not have brush traces in them, the work as a whole pulses continuously.