30.5x31.2,,,,台北故宫博物院。参考资料：石渠宝笈初编（养心殿），上册，页479 参考资料：故宫书画录（卷三），第一册，页101-102 参考资料：故宫历代法书全集，第二十四册，页88-103、144-145 参考资料：董其昌（西元一五五五－一六三六年），字玄宰，号思白，江苏华亭人。万历十七年（一五八九）进士，官至礼部尚书，谥文敏。天才隽逸，善书画，富收藏，尤精鉴赏。临摹书迹，至忘寝食。行楷之妙，称绝一代。 本册作于万历三十九年（一六一一），董氏时年五十七岁，自福建副使辞官已年余，潜心艺事，书画有成，「吾书因生而得秀色」一语即此期之自评。本册参合智永虞颜之笔法字势，蕴含自有之清朗疏秀风神，是董氏中期杰出之作。 参考资料：Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsüan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. This album was written in 1611 when Tung was fifty-seven sui, already one year after he had resigned from his post as Vice Commissioner of Fukien. During this time Tung devoted himself to artistic pursuits, producing great accomplishments in painting and calligraphy. Tung critiqued his own calligraphy of this period by saying, "My calligraphy exhibits an elegant atmosphere on account of its rawness." The calligraphy of this album combines the brush method and character force of the monk Chih-yung, YüShih-nan and Yen Chen-ch'ing and is also imbued with Tung's own clarity and elegance. It is an excellent work of Tung's middle period. 参考资料：董其昌法书特展研究图录，页136-139、184-186