纸本,,,,台北故宫博物院。参考资料：石渠宝笈三编（延春阁），第六册，页2628-2629 参考资料：故宫书画录（卷三），第一册，页354-355 参考资料：故宫历代法书全集，第四册，页190-218、226 参考资料：1.何传馨，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑二 — 王铎书诗〉，《故宫文物月刊》，第186期（1998年9月），页18-21。 参考资料：王铎（一五九二－一六五二）字觉斯，号嵩樵、十樵、痴僊道人，河南孟津人。天启二年登进士，入清官礼部尚书，官仕二朝，在政治上有负面评价。 他坚持一日临帖，一日自由书写，终身不易。他的草书运笔有颤动的韵律， 墨色变化多，从浓墨到墨将用尽的枯涩。他草书笔法依靠臂部起伏摆动，受黄庭坚、祝允明的影响。自作诗五律五首，谓「诗狂作数首」而书更狂，其作品表现出大写意书风。 此件作品原为长卷，现已改装成册。第三首诗「围城」以下十字三行，在装裱时顺序颠倒。自署书于崇祯十六年（一六四三）寓孟庄山志园（在河南卫辉府苏门山南），年五十二岁。第五首诗为是年于苏州附近与好友相聚的纪游之作。本幅选自《元明书翰》第六十册。 参考资料：Wang To, a native of Honan, served at court in both the Ming and Ch'ing (1644-1911) dynasties. Despite his achievements in art, however, he has been criticized for his role in politics. In calligraphy, Wang was adamant about practicing by copying the works of the old masters one day and then writing as one pleases the next. The brushwork in his cursive script has a lively rhythm to it and there is considerable variety to the tones of the ink. Wang's cursive script, done by holding the arm aloft, was evidently influenced by the styles of Huang T'ing-chien and Chu Yun-ming. Wang wrote that for these five "wild" five-character verses he used even "wilder" cursive script, revealing the manner of large-scale calligraphy. This work originally was a long handscroll that was later remounted into an album, resulting in a mistake to the ordering of a few lines of the characters. It was done in 1643 in Honan at the age of 51. The fifth poem was done to commemorate a trip to see his friend near Soochow. This is the 60th album from "Calligraphy of the Yuan and Ming."