bibliographic descriptions of the second donations from the pang jingtang collection...

BIBLIOGRAPHIC DESCRIPTIONS OF THE SECOND DONATIONS FROM THE

PANG JINGTANG COLLECTION

龐鏡塘藏品（第二批捐贈）敍錄

Prepared by

Lianbin Dai, D. Phil

for

RBSC, UBC Library

The University of British Columbia

Vancouver, Canada

September 2014

Revised in February 2015

[Note: Mr. Shen Jia 沈迦 re-examined these included items in December 2014 and contributed his insights that have been incorporated into this revised edition. Thanks

should go to him for his advice.]

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#01

Zhao Qiugu xiansheng moji 趙秌谷先生墨跡 (Zhao Zhishen’s Original Hand Scripts [of Two Letters])

一冊。趙執信書，雍正七年八年閒作品。紙本。經

折裝，木夾板。半葉高 24.3 釐米，寬 10 釐米。鈐

“鏡塘/讀過”白文方印，“鏡唐/審定”朱文方印，

“嬴縮/研齋”朱文方印。

是件收入趙執信書札二通。第一通信札，當作於雍正

六年至七年間（1728-1729）。據年譜，雍正五年七幼女夭亡；是書亦未提八年初所遭家

難。鈐“執信”朱文連珠印。第二通作於雍正八年（1730），專為家難事。年譜引“千金

歌注后跋”，是年遭家難，至次年方解。此二信札均不見於傳世文集。

趙執信（1662-1744），字仲符，又字伸符，號秋谷。山東益都人。康熙十八年（1679）進士。二十八年（1689），坐國恤中讌飲觀劇，為言者所劾，削籍歸。《清史稿》卷四八

四有傳。工吟詠，善書。

DESCRIPTION

Calligraphic album in one volume in concertina form, on paper between wooden covers, 24.3 cm x 10.0 cm.

Two letters by poet and calligrapher Zhao Zhishen (1662-1744) are contained in this album. The first one in the formal style was written in 1728-1729 mentioning his

youngest daughter’s death in 1727, and the second in the running style written in 1730 defending himself against a false accusation of murder. Neither has ever been published.

Reference matter 參考文獻

Hummel, ECCP, vol.1, p. 71.

李森文，趙執信年譜。濟南：齊魯書社，1988。

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#02

[Liu Yong kaishu Lisao ceye] [劉墉楷書離騷冊頁] [Liu Yong’s Hand Script of An Elegy on Encountering Sorrows in Formal Style]

一冊。乾隆九年冬（1745）書。

紙本。經折裝，硬紙夾板。嘿

園題簽。半葉高 31 釐米，寬

19.8 釐米。灑金襯紙。鈐“嬴

縮研/齋收藏金/石書畫”白文

方印、“嬴縮/研齋”朱文方印、“壽卿/珍賞”朱文方印、“懷抱/觀古今”白文方

印、“鏡唐/審定”朱文方印、“御賜/清愛堂”橢圓朱文印。

是冊為小楷書屈原《離騷》全文。“後悔遁而有他”之“他”，“既替余以蕙纕兮”

之“兮”，“及余飾之方壯兮”

之“壯”，為粘補。末署“乾隆

甲子冬十有二月朔[1745 年 1 月

3 日]書/東武劉墉”。鈐“劉印/墉之”白文方印、“崇/如”朱

文方印。内文中數印被割裂，當

為手卷改經折裝所致。

末有劉墉跋，述此手卷原委，云：

“内兄單子明先生，余中表晜弟

也。謁選入都，促厀論文，相與

晨夕者累月。屬余書此篇以方功

帖括。筆研久荒，勉強塞責，作

輟數四，自秋迄冬，始克畢事。前後筆意差不倫。坡翁云，真書苦太拘，草書苦無

法。此卷前病其拘，後涉於放，兼有二難，良可咲也。崇如又記。”

劉墉（1720-1804），字崇如，號石菴。山東諸城人。乾隆十六年（1751）進士，

歷任山西太原知府、江蘇江寧知府、陝西按察使、湖南巡撫、工部尚書、署直隸總

督等職，授協辦大學士。謚文清。《清史稿》卷三〇二有傳。工書。震鈞《國朝書

人輯略》卷三引《松軒隨筆》：“劉文清書初從松雪，入中年後乃自成一家。貌豐

骨勁，味厚神藏，不受古人牢籠，超然獨出。”又引包世臣《藝舟雙楫》：“近世

小真書以諸城為第一。……諸城壯嵗得力思翁，繼由坡老以窺閣本，晚乃歸於北魏

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碑誌，所詣遂出兩家之外。小真書取勢必遠，而置節尚促；用意必險，而措畫尚平。

是以覽之無奇，探之不盡。”

是件署為劉墉二十五嵗時所書，當為其早年之作，題簽曰“劉石庵中年書冊”有誤，

題重擬。此件鈐印，“劉印/墉之”佈局不見於印譜，“崇/如”之印不見著錄，

“御賜/清愛堂”之印過於簡陋，與數方傳世者迥異。因現所見其最早書法作品，

為乾隆二十年（1755）正月以小楷錄晉書嚴含傳。此件真僞暫且存疑。

DESCRIPTION

Calligraphic album in one volume in concertina form, on paper between wooden covers, 31.0 cm x 19.8 cm.

This album, according to the postscript, was the outcome of Liu Yong’s (1720-1804) work of three months dedicated to his brother-in-law, who was studying the formal calligraphic style required for the civil service examinations. It was dated in January 1745, when Liu was twenty-five years old.

Its authenticity is suspicious in that neither of his two seals, which were stamped in an unusual way on this piece, has been recorded. The seal of his family’s hall that the Kangxi emperor (r. 1661-1722) named is not as exquisite as those extant.

The extant earliest calligraphic piece by Liu Yong so far was dated in 1755, when Liu was thirty-five years old. We know very little about his calligraphic work and style in his twenties.


Hummel, ECCP, vol. 1, pp. 536-537.

上海博物館編，《中國書畫家印鑑款識》。北京：文物出版社，1987 年。

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#03

Chen Yufang xiansheng moji 陳玉方先生墨蹟 Chen Xizu’s Original Hand Script

一冊。託名陳希祖書。紙本。經折裝，

硬紙夾板。題簽署“己未孟冬/百琹署簽”。半葉高 32.3 釐米，寬 19.3 釐米。鈐“紅葯/山房”朱文方印、“嬴縮/研齋”朱文方

印、“高苑張/書船家/藏圖書”白文方印、

“桐城姚氏/蛻園所藏”朱文方印、“鏡唐/審定”朱文方印、“嬴縮研/齋收藏金/石書畫”白文方印、“龐/禕”白文方印。

是冊行書歐陽修（1007-1072）《醉翁

亭記》。末署“乾隆己未（1739）長至

日/玉方陳希祖書于/雲在軒”。鈐“陳印/希祖”白文方印、“敦/壹”朱文方印。

陳希祖（1765-1820），字穉孫，號玉

方。江西新城人。乾隆庚戌（五十五

年，1790）進士。墓誌銘見陳用光《太

乙舟文集》卷八。包世臣《藝舟雙楫》

云：“故侍御玉方先生以書名宇内，稱

爲華亭後身。”吳修《昭代尺牘小傳》

稱其“工書，得董文敏晚年神髓。”

此件為託名僞作。末署乾隆己未，此時希祖尚未出生。其行書立軸或署名“玉方希

祖”，用“臣印/希祖”朱文方印，“惇/壹”朱文方印。此件簽名、印章神韻皆遜於其他

傳世作品。

DESCRIPTION

Calligraphic album in one volume in concertina form, on paper between hard covers, 32.3 cm x 19.3 cm.

The text of Ouyang Xiu’s (1007-1072) Zuiweng ting ji (An Account of the Old Toper’s Pavilion) is written in running style, in the name of Chen Xizu (1765-1820), a scholar-official and calligrapher from today’s Jiangxi province.

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This piece is a forgery. The anonymous artist textually dated his piece to 1739 right after the main text, while accredited Chen Xizu was born twenty-six years later. Both seals stamped below the signature are highly suspicious.


上海博物館編，《中國書畫家印鑑款識》（北京：文物出版社，1987 年），頁

1040。

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#04

[Wang Wenzhi lingu cezi] [王文治臨古冊子] [Wang Wenzhi’s Imitation of Earlier Calligraphic Works in Album]

一冊。十二對折葉。疑僞。半葉高 28 釐米，

寬 22 釐米。灑金襯紙，内文絹裱。夾板、題簽俱失，題名今擬。鈐“鏡塘/乙酉

[1945]後/所得”朱文方印、“夢/樓”朱文方印、“嬴縮/研齋”朱文方印、“龐/禕”

白文方印、“王氏/禹卿”朱文方印、“鏡唐/審定”朱文方印。

此件整理後得所臨帖八通：

一）孫過庭（646-691）書譜：“又一時而書，有乖有合……蒙無所從”“情動形

言，取會風騷之意；陽舒陰慘，本乎天地之心。”

二）孫過庭書何晏景福殿賦：“冬不淒寒，夏無炎燀……椒房之列，是準是儀。”

三）索靖（239-303）出師頌：“桓桓上將……傳子傳孫，顯顯令聞。”

四）李邕（678-747）雲麾將軍李秀神道碑：“公祿俸散於戰人……羅縠照於廊

廡。”“故能軒蓋六朝……飛行去來。”“乘朱輪者十人。”“珥貂蟬者七葉。”

“郊不舉燧，海無驚波。”“地雄一方。”“鼎貴百代。”“名動河朔。”“風動

范陽。”“賜紫金魚袋上柱國禮也。”

五）蔡襄（1012-1067）扈從帖：“襄拜：今日扈從……已蒙朝恩，遂請。”

與大姐帖：“五娘子謝得衣物……且好將息。”“萊州角石盂子十隻、北席一領寄

去。”

與親家茂才書：“秋暑猶盛……懇懇。不宣。襄啓。”

六）米芾（1051-1107）露筋之碑：“天地之

閒……紹聖元年十月中岳外米芾東歸過其下。”

王文治（1730-1802），字禹卿，號夢樓。江蘇

丹徒人。乾隆二十五年（1760）進士。清史稿

卷五百三有傳，墓誌銘見姚鼐《惜抱軒文後集》

卷七。書名與劉墉相埒。震鈞《國朝書人輯略》

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卷六引《湖海詩傳》云：禹卿“尤工書，楷法河南，行書效蘭亭、聖教。入京師，

士大夫多寳重之。”姚鼐云，王文治傾心董其昌，其快雨堂名即緣于得董氏所書快

雨堂匾。又云，“君少嘗渡海至琉球，琉球人傳寳其翰墨。”

末有王文治跋，云“余自海外歸，以琉球所製紙饋曉樓大兄。曉樓受而藏弆之。越

十餘年，余自滇中歸，始出以索書，存余家者又十年，始書以歸之。頃彂紙如昨，

而余欲與曉樓俱老矣。噫。乾隆四十五（1780）年秋八月王文治記於快雨堂。”鈐

“文治/私印”白文方印、“文章/太守”朱文方印。“文章/太守”及“夢樓”印均

僞。曉樓，不詳。又考王文治乾隆二十一年丙子（1756）隨員使琉球，次年（1757）返國。乾隆三十二年（1767）年秋自雲南臨安知府任上告歸，三十三年（1768）歸

江蘇丹徒。跋中稱“越十餘年”自滇中歸，“存余家者又十年”始於 1780 年書以

歸之，紀年有差。故暫定為託名僞作。

DESCRIPTION

Unbound album originally in one volume in concertina form, on paper, 28 cm x22 cm.

Eight earlier calligraphic pieces are imitated, of a broad period extending from the third century to the late eleventh century. Those pieces were originally accredited to Sun Guoting (646-691), Suo Jing (239-303), Li Yong (678-747), Cai Xiang (1012-1067) and Mi Fu (1051-1107). A very same seal of “Menglou” (lit. dream chamber) was stamped after each imitation, in a way which is unusual in traditional Chinese calligraphy. And this seal is suspicious.

This piece is accredited to Wang Wenzhi (1730-1802), once an official yet more famous as a calligrapher after his resignation from government service.

The postscript tells a story about the creation of this piece on the paper he brought from Ryukyu and presented to a gentleman named Xiaolou in early 1757. Xiaolou gave the paper back to him requiring his calligraphic work after his return from Yunan to his hometown in early 1768. Wang had not finished this piece until the fall of 1780. The postscript describes the first internal of ten years by “more than ten years” and the second internal of twelve and half years by “ten years,” which is inconsistent with Wang’s own story. In addition, the two seals below his signature are suspicious.


Hummel, ECCP, vol. 2, pp. 840-841.

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#05

Fu Qingzhu xiansheng mobao 傅青主先生墨寶 A Calligraphic Treasure by Fu Shan

一冊。紙本。經折裝，硬紙夾板，正文絹裱。半葉高 32釐米，寬 15.3 釐米。夾板題簽“傅青主先生墨寶”，署

“海運樓珍藏/乙丑[1925]冬日洪陸東題”，鈐“陸/東”

朱文圓印。扉頁題“霜紅龕遺墨”，署“鏡塘屬題/尹默”，鈐“沈”朱文方印。今題從夾板題簽。鈐“嬴縮/研齋”朱文方印，“旬陽龐鏡/塘鑑賞印”朱文長印，

“綠藤/齋”朱文方印，“沈/尹默”白文方印，“佛士”朱

文長印，“汪”朱文方、“東”

白文方印，“熊/夢賓”白文方

印，“觀/民”朱文方印，“鏡塘/長物”白文方印。“貴

筑姚華”，“x 石盦”朱文長印，“xx 廬收藏印”白文

長印，“鏡塘/行篋/中物”朱文方。末行“傅/山印”白文

方印已模糊，但猶有跡可尋。

冊中另紙，為龐氏所擬目錄，行書。計七絕六首，五律

四首，五古一首，共十一首：政平如水先皇日（七絕），

謔語縱橫許入詩（七絕），劇雨連三日，江雲接短茅

（五律），心知吳處士，未厭古人風（五律），多壽朴

卯子，風塵道漫尊（五律），玉女壺寧妄，仙人博漫疑

（五律），風滿晴空足路谿（七絕），莫道春郊樂未央

（七絕），泊舟登潭下，水清石自出（五古），紫柵陰

陰帶夕暉（七絕），猶憶方文歷下來（七絕）。丁寳銓刻本（1911）和劉雪厓本

（1912）《霜紅龕集》均失收。

此件先後有姚華（1876-1930）、洪陸東（1893-1976）、沈尹默（1883-1971）、汪

東（1890-1963）、楊定襄（1888-1959）、熊夢賓（1886-1953）等品題。其遞藏待

考。

傅山（1607-1684），字青主，號嗇廬。山西陽曲人。工書畫，善吟詠，精于醫。

清史稿卷五百一有傳。其書法二王，頗得其神。自大小篆隸以下無不精，趙執信推

為清代書家第一。

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末有跋六篇。

其一：霜紅龕主自書詩文稿，多不署名。曩

在長安，見周氏伯敏所藏其稿數十帋。予巡

河前後，得其高逸篇與五言詩，卷幅凡三事，

揔初中晚年所作而庋松墅。此稿與五言詩稿

相若，龕主所作也。竟唐道長兄督題，因漫

記于此。[簽名待考]

其二：青主先生往往不擇帋而書，蓋聊以寄

興怡情而已，非復有悅俗傳世之念。此冊殆

隨喜取敗牋書之。入手數行，頗作勢，復乃自然，其意仍在知微所摹晉賢筆札閒也。

嘗謂傅山人書，雅於王孟津，人格有別故也。誠中形外，其不可掩乃如此。質之鏡

塘，以爲然否？民國三十三年三月十七日於重慶

嘉陵江上石田小築。尹默。

其三：傅山人論書，寗拙無巧，寗醜無媚，寗支

離無輕滑，寗直率無安排，此可以知其所尚矣。

甲申莫春楊定襄敬觀。

其四：甲申三月汪東敬觀。鈐“汪東”朱白文印。

其五：余所見青主先生墨跡，以趙芷青藏小真書

千字文及許石柟藏小行書泥金冊頁為最精。冊頁

蓋王文敏公故物。後余得青主先生祈神療病記底

稿，則龔定菴摯友濟寧王繼蘭舊藏。余頗自珍惜，以爲可與趙、許兩家所有鼎足而

言三。今觀此冊，不斤斤於法度，而法度具足。青主先生嘗言，書不窺晉人堂奧，

終是俗品。此先生自道，故絕少安排，而超越一切，與前記三品亦殆無可上下。鏡

塘鋻古有識，行當攜余所藏乞為評定之。甲申

立冬日熊夢賓記於江北旅寓。

其六又題：昔在歷下見某質庫中有青主先生畫

松八幀，么矯如游龍。書畫相通，其表示北方

革命。先哲之精神，倚天拔地，有非丈幅尺楮

所能限者。特附記於此。觀民。

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DESCRIPTION

Calligraphic album in one volume in concertina form, on paper mounted on silk, 32.0cmx15.3cm.

Eleven poems written by Fu Shan (1607-1684) himself are included in this album, which have never been published. The first poem divulges Fu’s loyalism to the fallen Ming, which was politically sensitive in the early Qing.

This album has never been catalogued. The seal below the last line is naturally blurred, but partly legible – It reads “Fu 傅/ Shan yin 山印” in the very same recorded style. Yao Hua (1876-1930), an expert in calligraphy, painting and rubbing, verified this piece by stamping his seal. It remains unknown how Pang Jingtang obtained it, yet all postscripts by Shen Yinmo (1883-1971), Wang Dong (1890-1963) and other artists endorse its genuineness.

Fu Shan was a calligrapher, painter, poet, medical physician and philosopher, who witnessed the transition from the Ming dynasty (1368-1644) to the Qing (1644-1911). His political loyalism to the fallen Ming and Han-Chinese nationalism against the rising Manchus regime led to the censorship of his literary and artistic work through most course of the Qing. He has been esteemed as the first leading calligrapher in the Qing period, yet only a few of his works survived.

This item deserves further research, both textual and aesthetical.


Yamauchi Kan 山內観. Fu zan no shohō 傅山の書法. Tōkyō: Nigensha 二玄社, 1994.

Uchiyama Chinari 内山知也. Fu Zan 傅山. Tōkyō: Geijutsu Shinchō Shinbunsha 藝術新

潮新聞社, 1994.

Hummel, ECCP, vol.1, pp. 260-262 for Fu Shan.

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#06

[Meng Jinhui shanshui ceye] [孟金煇山水冊葉] [Album of Landscape Paintings by Meng Jinhui]

一冊。紙本。經折裝。灑金襯紙，絹裱。半

葉高 27 釐米，寬 14.5 釐米。鈐“鏡塘/乙酉後/所得”朱文方印，“鏡唐/審定”朱文方印，“心一”朱文長形印、“璞山”朱文長形印。

硬紙夾板闕，失題。著錄題名為今擬。有山

水冊葉八幀。或鈐“玉生/之印”白文方印，或鈐“廿/四”朱文方印。第二幀有題款，

云：“雲翔大兄甚愛吾畫，作此以贈。玉簫生孟金煇並志。” 雲翔，不詳。鈐“孟/廿四”朱文方印。

孟金煇（卒於 1850 年），後名毓森，號玉笙、

玉生、玉簫、玉簫生，室號二十四橋草堂。

江蘇江都（一作甘泉）布衣。工山水、篆刻。

民國《甘泉縣續志》卷二十六引《揚州畫苑

錄》稱其精鑒別，工山水人物。蔣茝生《墨

林今話續編》卷一稱其“工鐡筆，山水尤妙。”張翔珂跋以其鐵筆人物之精，誤認孟氏為明

末清初人。

此件為孫文瀾舊物。孫文瀾（卒於 1935 年），

字觀亭，山東益都人。家有藏書，精於金石，以收藏甲骨知名。民國二十三年，王

獻唐（1896-1960）主持山東省圖書館，曾假錄其家藏。

末有跋二通。

其一：此冊仿各家，有近文派者，有近石谿、石濤二和尚者，其本家筆意，則金陵

八家家數也，與四王絕不相類。畫家之風尚，因時因地，如此，亦可以審其淵源所

自矣。觀亭仁兄出此索題，因漫誌之。心一郎允中。

其二：筆意雅近石田，規橅一過，益嘆非時人所能為。林巒人物，老筆紛披。其名

不著，其畫足珍。唐宋畫有無款者，亦有有款而無名者。要之，畫既佳矣，名之有

無俱不害其為傳也。

[以下小字]

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戊辰七月廿二日，往拜觀亭先生，因出示此冊，屬擕歸題記。璞山張翔珂書於槐蔭

軒中。

[又小字如蟻]

衣紋用鐵綫，國初尚有，後易以柳葉，而鐵綫少矣。孟君不知何時人。大人物用鐵

綫法，其為國初以前人也耶？以無確證，未能臆決也。

郎允中、張翔珂，待考。

DESCRIPTION

Album of landscape paintings, originally in one volume in concertina form, on paper mounted on silk, 27.0 cm x 14.5 cm.

Eight landscape paintings are extant. A painter native of Yangzhou, Meng Jinhui (d. 1850) majored in landscape painting and “iron-lined” figures. In spite of his excellence, his fame was so local that an artist, native of Shandong, who wrote two postscripts to this album thought he was active in the late seventeenth and early eighteenth centuries.

According to the postscripts, this album had belonged to Sun Wenlan (d. 1935), a collector of Shandong Province, before Pang Jingtang obtained it.

Reference matter 參考文獻：

王獻唐，雙行精舍書跋輯存。濟南：齊魯書社，1986。

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#07-1

[Bao Tingbo kaishu caose shi ceye] [鮑廷博楷書草色詩冊葉] [Poems on Lush Grass, Written by Bao Tingbo in Album]

一冊。紙本。紅絲格，經折

裝。匡高 14.9 釐米，寬 10.7釐米。六行，行十二字。末

署“乾隆乙卯[1795]除夕日鮑廷博臨于知不足齋”。鈐“三山/遊人”白文方印，

“以文”朱文方印，“鮑/廷博”白文方印。“有真意”朱文長形印，“鏡唐/審定”

朱文方印，“老藤”朱文長印，

“嬴縮/研齋”朱文方印。

夾板缺失。首行書“草色”二字，

據以題名。是冊共抄錄詠草色七

律十四首，均押鹽韻，當為唱酬

之作。計：

遠天一抹碧初黏皇六子；欲使

王孫恨轉添皇十一子；南浦初

生色尚纖皇十五子；三月吟情

且未忺皇十一子又作；一夜郊原細雨霑皇次孫；落紅時節雨廉纖皇六子又作；

一般意思曉窓添吉夢熊；漫説飛花一笑拈胡高望；晴翠頻從繡漠添達椿；綠遍

長堤青入簾吳壽昌；東風昨夜雨纖纖鄭際唐；平蕪四望碧厭厭黃軒；未許王孫

別夢淹汪如洋；生意芊綿看未厭嚴福

鮑廷博（1728-1814），字以文，號淥飲。安徽歙縣人。以藏書及刻印“知不足齋

叢書”知名。傳見阮元《揅經室二集》卷五。

吳壽昌《虛白齋存稿》多有與皇十一子唱和之作，然不見此詩。此本抄自何處，待

考。

此件或為僞作。鮑氏並不曾號三山遊人，所鈐名字印亦不見著錄。1795 年，鮑氏

已經六十八嵗，作此種小楷的可能性極低。

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DESCRIPTION

Calligraphic album in one volume in concertina form, characters in formal style, on paper, 14.9 cm x10.7 cm.

Fourteen poems on lush grass are included in this album, which were accredited to four princes of the Qianlong emperor (r. 1735-1796) and eight officials. They should be the outcome of a literary gathering, in which all attendants were required to compose poems in the regulated format and rhyme. Details about this gathering and attendants remain unclear.

Bibliophile and publisher Bao Tingbo (1728-1814) was accredited with this calligraphic piece, allegedly dated in 1795. Its authenticity is suspicious, however. Three seals of Bao’s names and title stamped herein are not catalogued, and the writing style appears undertaken not by a nearly seventy year-old scholar like Bao but by a much younger artist.


Hummel, ECCP, vol.2, pp. 612-613 for Bao Tingbo.

Swann, Nancy Lee, “Seven Intimate Library Owners,” Harvard Journal of Asiatic Studies 1 (1936):363-390.

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#07-2

[Shi Chen xiang Kongmiao bei taben] [史晨饗孔廟碑拓本] [The Stele for the Sacrifice to the Confucius Temple by Shi Chen, Rubbing]

一冊。明末拓本。紙本。經折

裝。高 29.4 釐米，寬 17.5 釐

米。

是碑俗稱史晨後碑，刻於建寧

元年（168），記述碑主史晨

修護孔廟之事。相傳為蔡邕（133-192）所書。隸書十四行，行三十六字。前碑刻

於 169 年，題“魯相史晨祀孔子奏銘”。原在山東曲阜孔廟，1996 年移入孔府西倉

漢魏碑刻陳列館。

1921 年商務印書館影印出版《明初拓史晨前後碑》，實為明末拓本，其前碑十一

行“臣輒依社稷出王家穀春秋行禮”中“穀”字之“殳”部中橫已半損，然“秋”字尚完好，

當為萬曆以後拓本；十二行“增[異]輒[上]”中“增”字之“日”部中橫已泐。哈佛燕京圖

書館藏此後碑拓本兩部，其六行“褒文”與七行“九百”之間石泐連成一片，第八行

“上下蒙福”之“蒙”字右側石泐已連及字畫。均屬道光以後拓本。京都大學人文科學

研究所所藏同。

此件六行“褒文” 與七行“九百”保存尚好，中間石泐尚未連成一片；“第子合九百七

人”中“百”字起筆處未損；第

八行“上下蒙福”之“蒙”字右

側石泐尚未連及字劃，當屬

明末拓本。

該拓本前有散失，闕“相河南

史君諱晨字伯時，從越騎校

尉”。碑文末唐人題名：“大周天授二年[691]二月廿三日，

金台觀主馬元貞，弟子楊景

初，郭希元奉於東岳作功德，

便謁孔夫子之廟，題石記之。

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內品官楊君尚，歐陽智琮”，下闋“宣德郎行兗州都督府倉曹參軍事李叔度”。

鈐“吳熙/載字/讓之”白文方印，“頤性/老人”朱文方印，“光風/霽月”朱文方印，“[小]停雲/山館”朱文方印，“龐褘”白文方印。為阮元、吳熙載舊藏。阮元（1764-1849），

晚號頤性老人，其《山左金石志》卷八著錄此碑。吳熙載（1799-1870），字讓之，

工篆刻書法。

DESCRIPTION

Seventeenth-century rubbing from the Stele for the Sacrifice to the Confucius Temple by Shi Chen, in one volume in concertina form, on paper, 29.4 cm x 17.5 cm.

The stele was erected in AD 168, traditionally accredited to calligrapher Cai Yong (133-192), as a monument for the sacrifice by Shi Chen, a minister of the Lu State, to Confucius Temple in Qufu, Shandong, where the stele is currently reserved.

This rubbing was made in the seventeenth century. The historical cracks and perforations still appear thin between the characters “baowen” 褒文 in Column Six and “jiubai” 九百

in Column Seven and do not damage the character “meng” 蒙 in Column Eight; these five characters remain visually complete in form. These physical features are unique in the seventeenth-century rubbings of this inscription.

The copy collected in the Harvard-Yenching Library was made after 1850, as that in the Institute for Research in Humanities, Kyoto University was.

The first page of this rubbing and the last page of the 691 postscript (carved into the original stele) are missing.

This rubbing was owned, successively, by Ruan Yuan (1764-1849), an official and evidential scholar who catalogued this inscription in his bibliography, and Wu Xizai (1799-1870), a seal carver and calligrapher.


明初拓史晨前後碑。上海：商務印書館，1921。

仲威，中國碑拓鑒別圖典。北京：文物出版社，2010。

王壯弘，增補校碑隨筆。臺北：華正書局，1985。

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#07-3

Liu Wenzheng gong shouzha xingshu ershi ye 劉文正公手札行書二十頁 Personal Letters from Liu Tongxun in running style, twenty sheets

一冊。紙本。經折裝。殘，僅存四頁。

高 35.1 釐米，寬 18.5 釐米。

前夾板斷裂，後夾板失，並與正文分離。前夾板題簽尚在，云“劉文正公手札行書

二十頁/光緒甲午孟夏自求齋主人題檢”。

劉統勳（1699-1773），字延清，號爾鈍，

諡文正。山東諸城人。雍正二年（1724）

進士。乾隆元年擢內閣學士。《清史稿》

卷三百二有傳。

信中提及兒子劉墉赴陝西，墉乾隆三十七

至三十八年（1772-1773）任陝西按察使。

此手札當作于此時，不久去世。

鈐“自求齋/所藏書/畫之印”朱文方印，“鏡塘/乙酉後/所得”朱文方印，“嬴縮/研齋”

朱文方印。自求齋主人，待考。

所存四頁手札，計三通。迻錄如下：

寧羌先祠一事，重費清神，實深感荷，覼縷難盡者，已向尊使面言其中備細。兒墉

抵陝後，當令叩謝，並佈悃忱也。

祠宇一事，費心處不僅一端。感謝之忱，楮墨難罄。兒子在陝，備蒙雅愛，尚望匡

其不逮，左右玉成。謹以寸楮鳴謝，順候興居，微物伴函，幸哂存之。一切均希鋻

照。臨款翹切，不宣。姻侍統勛拜書。八月初八日。

昨具手啓奉謝，此際想入照矣。令姪親家到省，接得華札，並面詢興居為感良多，

方擬恭候……[下闋]

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DESCRIPTION

Calligraphic album of personal letters in running style from Liu Tongxun (1699-1773), originally of twenty sheets in one volume in concertina form, on paper between wooden covers that are missing, 35.1 cm x 18.5 cm.

Liu Tongxun, native of Zhucheng, Shandong, once served the Qianlong emperor as one of his Grand Secretaries.

Only three letters survived on four sheets, in which Liu Tongxun mentioned the appointment of his son Yong (1720-1804) as the Provincial Surveillance Commissioner of Shaanxi in 1772-1773. These three letters were written in 1771-1772, Liu Tongxun’s last years.

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#07-4

[Xu Zhangshi jiuguan tanbei taben canye]

[許長史舊館壇碑拓本殘葉]

[A Rubbing of the Stele for Administrator Xu’s Site Altar, Fragments]

僅存兩頁。僞刻拓本。紙本。高 33釐米，寬 18 釐米。起“祖光，字少張”迄“行太和中”。

全稱《上清真人許長史舊館壇碑》。是碑立於梁天監十七年（518），陶弘景

（456-536）撰文，孫文韜（六世紀人）書碑。碑文全文收入陶弘景文集及道藏，

因保存許謐（305-376）父子重要史料，成爲道教史重要文獻。此碑曾在唐代重立、

大歷十三年（778）洗刻，後毀於明嘉靖閒（1522-1567）。清代流傳拓本，朱彜尊

（1629-1709）《曝書亭金石文字跋尾》記有爛溪潘氏本。後以顧沅（1799-1851）鈎本流傳較廣（1876），據稱出自范氏天一閣拓本（十六世紀中期以前），收入

《石刻史料新編》第三輯第二冊。普林斯頓大學圖書館藏有《大梁上清真人許長史

舊館壇碑》拓本(Call# CN1160.D35 1800)。

此殘葉墨色烏黑，字劃清晰。更可疑之處在於，顧氏鉤本可見石泐，此件不見明顯

石泐。普林斯頓本有自然石泐，字體偏瘦。比較顧氏鉤本，普林斯頓本標題作“舊

館”，鉤本作“舊舘”；“此一行隱居手自書”中“一”字，普林斯頓本完好，鉤

本已殘泐；“宇宙之靈也”、“文跡可記”中“也”、“記”之末筆，普林斯頓本

端正完好，而鉤本歪斜難以入目，顯係剜改所致。“化育羣生”之“育”字，普林

斯頓本完好，而鉤本末筆已泐。普林斯頓本顯然拓自原石，且較鉤本祖本即天一閣

本為早。殘葉運筆拘謹。普林斯頓本“寕”，殘葉中該字中間一部闕，與鉤本同。

殘葉字體偏肥，與顧氏鈎本極近，雖個別字筆畫有少許差異，但殘葉顯然來自鉤本，

而非原石，很有可能拓自鉤本之翻刻本，為十九世紀後期僞作。

DESCRIPTION

Rubbing of the Stele for Administrator Xu’s Site Altar, folding paper, only two pages extant, 33 cm x 18 cm.

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The original stele was erected in 518, with the text by Daoist master Tao Hongjing (456-536) and calligraphy by his disciple Sun Wentao (fl. the 6th century), narrating another Daoist master Xu Mi’s (305-376) life. The stele was repaired in 778 and completely ruined in the Jiajing period (1522-1567).

In addition to a copy recorded as having been seen in the second half of the seventeenth century but unfortunately lost, a nineteenth-century delineated edition has been published (1876) and widely circulated. Derived from the original rubbing once owned by the Tianyige Library (formed in 1561-1566) but lost too, the delineation allegedly is the only edition close to the original inscription, yet the copy in the East Asian Library of Princeton University (call# CN1160.D35 1800) helps in authenticating the fragments.

Compared with the Princeton edition, the delineation came from a much later rubbing, while the fragments genealogically were much closer to the delineation in terms of writing style. As some strokes in the fragments appear slightly different from those in the delineation, the fragments possibly were from a late nineteenth-century imitation of the delineated edition.

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#07-5

[Huahui shanshui ceye canye] [花卉山水冊頁殘葉] [Fragments of Two Albums of Landscape Painting and Flora]

其一

殘存一頁，中間有破損。畫榆葉。鈐

“鏡唐/審定”朱文方印。

其二

冊頁殘片七片，分別為山水、

人物、花卉。不可辨。

DESCRIPTION

#07-5-I

One painting of elm pods by anonymous artist, with the central part damaged.

#07-5-II

Seven fragments from an album of landscape, figures and flora by anonymous artist, hard to identify.

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#08, #13, #14, #15, #16, #22

[#14-戲魚堂帖第四 (vol. 4)，一冊，經折裝；#22-戲魚堂帖

第五(vol. 5)，一冊，經折裝；#15-戲魚堂帖第六 (vol. 6)，一

冊，經折裝；#16-戲魚堂帖第七 (vol. 7)，一冊，經折裝；

#13-戲魚堂帖第八 (vol. 8)，一冊，經折裝；#08-戲魚堂帖第

九 (vol. 9)，一冊，經折裝]

Xiyu tang tie 戲魚堂帖 Rubbings from the Playful Fish Hall Inscriptions

紙本。清初僞刻本。高 31.3 釐米，寬 16.9 釐米。絹面硬夾

板。闕第一、二、三、十冊，存第四、五、六、七、八、九

共六冊。

第四冊。摹王羲之法書，首鈐“袁氏/珍玩/子孫/寶之”白文方印， “豐坊/字存禮/號道

生”朱文方印， “己龍癸虎”朱文方印，“采芝/山人”白文方印，“華蓋殿/大學士”朱文

方印，“湯右曾/西厓記”朱文方印。末署“元祐四年四月劉次庒/摹于戲魚堂上石”，鈐“停云”朱文圓印，“橫/雲山/人”朱文方印，“儼齋/祕玩”朱文方印。其中豐坊兩印、

文徵明“停云”印、王鴻緒“橫雲山人”印均僞。

第五冊。卷首、卷末鈐印同上。末有王鴻緒（1645-1723，號儼齋）跋，云：戲魚

堂帖為宋時第一部墨刻，然欲得佳搨甚難。是帖墨浮而化，神采奕奕，乃舊本中之

佳者。臨池者幸善寳之。橫雲山人王鴻緒跋。鈐“王印/鴻緒”白文方印。款印均僞。

又有王俊華跋，云：右宋搨戲魚堂為張附鳳所藏，墨色如新，題識已失。得一展翫，

何其幸哉。會稽王艮（1483-1541）、江夏費雄、吳興王俊

華仝觀。無印。

第六冊。卷首、卷末鈐印同上。末有唐寅（1470-1524）跋

云，“正德二年[1507]初夏唐子畏/觀於醉山樓”。鈐“南京解

元”朱文長形印，“唐寅/私印”白文方印。

第六冊卷末又有文彭（1498-1573）跋，云：“古來墨刻，至

宋時為尤盛。戲魚堂帖，余久欲思搆，而惜無善本。昨王司

農移此見贈。展玩之下，愛不忍釋。良友情殷，誌制不敢忘

也。嘉靖丙子。三橋文彭。”鈐“文彭/之印”朱文方印。嘉靖

並無丙子年。文彭款印均僞。

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第七冊。卷首、卷末鈐印同上。又有“無味/山民”朱文方印。

第八冊。卷首、卷末鈐印同上。

第九冊。卷首、卷末鈐印同上。卷末又鈐印“無味/山民”朱文

方印，“嘿/園”白文方印。

劉次莊，字中叟，長沙人。熙寧六年（1073）進士，累官至

殿中侍御史。元祐中謫居臨江軍之新淦，築室東山寺前，俯

瞰清流，自謂有濠梁閒趣，因號戲魚翁。《皇宋書錄》卷中、

《書史會要》卷六、《宋詩紀事》卷二十六有傳。元祐四年

（1089）摹刻淳化閣帖，除去卷尾篆題，成《戲魚堂帖》，

又名清江帖、臨江帖。七年（1092）刻《法帖釋文》十卷，

《直齋書錄解題》卷十四、《郡齋讀書志》卷四、《四庫全

書總目提要》卷八十六著錄。曾宏父《石刻鋪敘》卷下“淸江帖”條著錄作“元祐七年壬申五月劉次莊得呂金部和卿閣本

臨刻，外有釋文十卷。”此後著錄多沿襲是說，誤以法帖摹

刻於元祐七年，實當以署元祐四年為是；余嘉錫《四庫提要

辨證》卷九“法帖釋文”條據劉次莊自跋已辯證之。此帖數次

翻刻。元末紅巾軍起，原碑已仆，正統二年（1437）已殘存

無幾，至明末，即原石拓本零散冊亦罕見。

据王俊華跋，此帖係張羽（1333-1385）舊藏。張羽，字來儀，

又字附鳳。又有袁忠徹（1376-1458）、豐坊（1492-ca. 1563）、湯右曾（1656-1722）收藏印。然題跋、藏印均僞。

據錢泳（1759-1844）《履園叢話》卷九，入清以後，此帖僞

刻流傳。此件帖首標題作“戲魚堂帖苐 X”，尾刻作“元祐

四年四月劉次庒/摹于戲魚堂上石”。僞刻本中，或有此尾

刻者，但帖首標題作“戲魚堂法帖卷 X”。或云原石真拓帖

首有“戲魚堂法帖 X”六字。均未曾見圖錄。Freer Sackler Main Library of Smithsonian Institution (call # 751.5 .L58) 及香港大學圖書館(call # 943.2 73 v.1-10)藏有舊拓，暫未見。

北京古籍出版社 1996 出版影印首都圖書館藏本，收入

《中國善本叢帖集刊》。

比較本件及首都圖書館影印本，二者收入法書有差別。首

圖本略顯拘謹。細節差異，列舉如下：

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卷四，王羲之蘭亭集序，此件字體較肥。“亦足以暢敘幽情”之“敍”字，首圖本

又部之右殘泐，叉筆與余部中間部分有自然石泐，此件則將此石泐刻成一捺筆。

卷七，王獻之書洛神賦，首圖本石泐石花，此件則多白地，且形狀有異。

各卷末，“元祐四年”之元字，首圖本撇筆起筆沖出下橫，作兩筆。此件則下橫與

撇筆連寫。

二者必有一僞，或二者皆偽。

DESCRIPTION

Calligraphic album of originally ten volumes in concertina form, with six volumes (vols. 4, 5, 6, 7, 8 and 9) extant, on paper between hard covers, 31.3 cm x16.9 cm.

The original inscriptions were carved by scholar-official and calligrapher Liu Cizhuang (jinshi 1073) in 1089, when he lived in exile in Xingan, Jiangxi. Liu’s collection included his own imitations of the imperial inscriptions Chunhua ge tie carved in 992, with slight difference in inclusions. After being publicizing, Liu’s inscriptions were imitated in later generations. Some of his originals were damaged in the 1351-1368 rebellions against the Mongol reign. By 1437, only a few fragments survived, and by the mid-seventeenth century, even rubbings of individual original inscriptions were extremely rare. Forgeries appeared in the late seventeenth and eighteenth centuries.

The six volumes in this collection are forgeries. All seals of alleged owners from the mid-fourteenth to the early eighteenth centuries stamped in the same color on the first and last pages of a volume are highly suspicious. Among the three signed postscripts followed by seals, the one by Wen Peng (1498-1573) is obviously a forgery – it was dated in the bingzi year of the Jiajing reign (1522-1566) that did not existed at all in the Jiajing calendar.

The Freer Sackler Main Library of Smithsonian Institution (call # 751.5 .L58) and HKU Library (call # 943.2 73 v.1-10) reportedly have the complete rubbings of the original inscriptions. The set collected in the National Museum of China in Beijing was published in facsimile in 1996.


Goodrich, DMB, pp. 106-107 for Zhang Yu, pp. 1629-1632 for Yuan Zhongche, pp. 448-449 for Feng Fang, pp. 1256-1259 for Tang Yin.

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張彥生。善本碑帖錄。北京：中華書局，1984。

楊震方。碑帖敍錄。第二版。上海：上海古籍出版社，1988。

王世貞，古今法書苑。收入《中國書畫全書》第五冊。上海：上海書畫出版社，

2009。

余嘉錫，四庫提要辨證。北京：科學出版社，1958。

錢泳，履園叢話。張偉點校。北京：中華書局，1979。

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#09

Guwen ba dajia gongxia lu 古文八大家公暇錄 A Selection of the Eight Essayists Who Created in Ancient Style in Their Free Time

乾隆二十六年（1761）序刊本。李中簡鑑定，王應鯨選

評。海源閣藏沈德潛批評過錄本。六卷，存二冊。金瓖

玉裝。有抄補。上冊僅存三十七頁，下冊三十四頁。匡

高 19.5 釐米，寬 13 釐米。半葉九行，行二十四字。白口，

左右雙邊，或四周單邊。單魚尾。魚尾上書“八大家公暇

錄”，下列卷次、葉次。有朱、

紫點讀、批語。鈐“劉印/鸞翔”白文方印，“濰郭/申堂/家藏”白文

方印，“楊氏海/源閣藏”白文長形

印，“龐/禕”白文方形印，“贏縮/硯齋/藏書”朱文方印，“協卿/讀過”白文方印，“仙舟讀/金石圖書/詩畫記”白文方印，

“秌窗/谿月”朱文方印，“嬴縮/研齋”朱文方印，“張貞/之印”白文方印，“心洛”朱文橢圓印，“翥雲書屋”白文長形印，

“劉氏/叔子”白文方印，“協卿/讀過”白文方印。下冊封底有

朱書“濱州里則鎮東北小王庒潤德堂王雲書四兄住趾”，鈐

“濰郭/申堂/家藏”白文方印。

首王應鯨乾隆二十六年（1761）敍，稱以呂祖謙、真德

秀、谢枋得諸選本為準繩，“選八大

家文膾炙人口者，都尉一集，共一百

二十篇”，以便用易讀，有益制義云云。篇末附程、朱、呂、

真、謝及後來諸儒之說，綴以己意，畢盡文之委曲。末有滿

文牌記。王應鯨（1717-1795），字霖蒼，直隸任邱人。《大

清畿輔先哲傳》卷十五有傳。

目錄為補抄，末有云：“右共文貳拾肆首，接宜靜心，細細逐

段句讀。”二十四篇古文，首韓愈原道，終曾鞏宜黃縣學記。

有“協卿/讀過”白文方印，當為海源閣楊氏整理。

卷一首頁為抄補，署“瀛海李中簡文園先生鍳定 / 任邱王應鯨

霖蒼選評 / 後學大興劉鸞翔讀”。每篇下紫筆批“宜看難讀”或

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“宜看”。中間則圈點句讀，朱紫閒雜。評點用朱筆，篇末朱

批署名沈歸愚。沈德潛（1673-1769），字確士，號歸愚。

江蘇長洲人。乾隆元年舉博學鴻詞，試未入選。四年，成進

士。以詩名世。《清史稿》卷三百五有傳。蓋海源閣得沈氏

唐宋文評，据其意從王應鯨刊本中摘取此二十四篇，拆除其

餘，過錄沈評，另抄補目錄。有楊紹和（1830-1875）及海

源閣印，惜海源閣諸目並無著錄。後書歸劉鸞翔，劉氏句讀；

而沈氏批評，抑或為劉氏過錄，待考。據民國《威縣誌》卷

五、光緒《廣平府志》卷六十三，劉氏為光緒十年（1884）大興嵗貢。龐氏當從濰坊郭氏購入。郭育之（1856-1930），

字申堂。山東濰坊人，辛亥后僑寓上海。

中國國家圖書館藏兩部，一殘；全帙六卷，四冊。

DESCRIPTION

Selected essays by the Tang-Song Eight Essayists in codex combing print and manuscript in thread-stitched binding style, in two volumes, first published in print in the 1760s and physically altered with a few manuscripts combined in the nineteenth century, 19.5 cm H x 13.0 cm W.

The original edition was printed in 1761-1762, and, according to the editor Wang Yingjing (1717-1795), included 120 pieces by the Eight Essayists followed by comments by orthodox Confucian scholars and Wang himself. Yang Shaohe’s (1830-1875), who owned the Haiyuange Library in the nineteenth century, extracted the highly praised twenty-four essays out of Wang’s volume and transcribed the poet Shen Deqian’s (1673-1769) comments onto his Haiyuange copy before preparing a new table of contents for his recreated version. This squeezed copy with Shen’s comments transcribed on was punctuated by Liu Luanxiang (suigong 1884) and then owned by Guo Yuzhi (1856-1930) before reaching Pang Jingtang. It was also possible that Liu transcribed Shen’s comments on this copy that he obtained from the Haiyuange Library. Further investigations are needed about the circulation of this copy.

The transcribed Shen Deqian’s comments highlight the compositional techniques that the essayists employed in their writings.


Hummel, ECCP, pp. 645-646 for Shen Deqian.

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#10

[Song shike Jingang jing taben] [宋石刻金剛經拓本] [Rubbing of the Song Inscription of the Diamond Sutra]

一冊。明中葉以前拓本。紙本。經折裝。高 28.8 釐米，寬

14.5 釐米。硬木夾板。失題簽。散亂失次。首頁鈐“嬴縮/研齋”朱文方印，“龐/褘”白文方印，“天籟閣”白文長形印，“觀雪齋”白文方印，另有三印不可辨識。末葉鈐“易其/田疇”朱文方印，“程氏/瑤田”朱文方印。

首行篆題“晉王右軍書”，刻“宣和”印；末行署 “永和十二年

六月旦日山陰王羲之書”，顯係後人摹王羲之（303-361）而

託名。程瑤田（1725-1814）、王芑孫

（1755-1818）跋有辨別。程瑤田跋云：金剛經，鳩摩羅什所

譯。世以爲右軍書，誤矣。足本神味古逸，的是鍾、王家法。

刻者當是宋人。紙墨色亦舊，足供清玩。乾隆庚戌[1790]春日，

程瑤田跋，時年六十又六。鈐“易田”朱文方印。

王芑孫跋云：宋人仿書有絕精者。予嘗見墨跡黃庭一本於彭

尺木家，亦織成黃素，用青絲界道，筆勢腴潤，欲令人不思

真跡。此金剛經大抵亦從此種傳本鉤摹入石，故清古之趣溢

出行墨，即非真唐人書，亦可寶也。乾隆癸丑[1793]五月王芑

孫記。鈐“鐵夫”印。

王芑孫又云：首行篆題，末行款署，皆他本誤襄。不獨末行

楷法與經文不類，紙墨亦不相似耳。惕甫再識。鈐“王芑孫”朱文長形印。

此件加鑲篆題，或意在表明其為宋刻。或為明嘉興項元汴

（1525-1590）天籟閣舊物。

程瑤田，字易疇，號葺荷，又號葺翁。安徽歙縣人。《清史

列傳》卷六十八有傳。王芑孫，字念豐，號鐵夫，又號惕甫。

江蘇長洲人。墓誌銘見秦瀛《小峴山人文集補編》。

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DESCRIPTION

Calligraphic album of the rubbing of a Northern Song (960-1127) inscription of the Diamond Sutra in one volume in concertina form, on paper between wooden covers, 28.8cm x 14.5 cm.

The inscription, in formal style, of the Diamond Sutra, a Buddhist text translated by Kumārajīva (334–413) from Sanskrit into Chinese, conventionally had been accredited to calligrapher Wang Xizhi (303-361). Yet the surviving rubbing, as two evidential scholars argued in their postscripts to this copy, demonstrates that the inscription was a Northern Song creation in Wang Xizhi’s calligraphic style.

Cheng Yaotian (1725-1814) once owned this rubbing. In his 1790 postscript, he approved its aesthetic value as a Northern Song inscription. Three years later, his friend Wang Qisun (1755-1818) confirmed Cheng’s judgement and found that the columns of title, date and signature were added in mounting the rubbing on paper.

This item possibly was owned by bibliophile Xiang Yuanbian (1525-1590), with one of his special seals stamped above the title. This rubbing could be made in the sixteenth century or earlier.


Hummel, ECCP, vol. 2, p. 695 for Cheng Yaotian, vol. 2, pp. 620, 658 for Wang Qisun.

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#11

[Liu Huanzhi yimo] [劉鐶之遺墨] [Liu Huanzhi’s Original Hand Scripts]

一冊。紙本。經折裝。硬木夾板。題簽

云“先恭憲公遺墨/孫方煒珍藏”。高 32.8釐米，寬 22 釐米。鈐“嬴縮/研齋”朱文

方印，“龐/禕”白文方印，“鏡塘/乙酉後/所得”朱文方印，“嬴縮研/齋收藏金/石書

畫”白文方印。

是冊錄劉鐶之手書十五幀。鈐“鐶之”朱文方印。有題詠、臨帖、習字等，作于癸未

（乾隆二十八年，1763），庚寅（乾隆三十五年，1770），乙未（乾隆四十年，

1775），戊午（嘉慶三十五年，1798），辛酉（嘉慶六年，1801）。或署年月，或

不署。

劉鐶之（卒於 1821 年），字珮循，號信芳，又號沁芳，諡文恭。祖統勳，叔墉。

山東諸城人，乾隆己酉（1789）進士，官至吏部尚書。《續碑傳集》卷八、《清史

列傳》卷二十六、《清史稿》卷三百二有傳。

DESCRIPTION

Calligraphic album of hand scripts by Liu Huanzhi (d. 1821; jinshi 1789) in one volume in concertina form, on paper between wooden covers, 32.8cm x 22.0cm,

This album contains fifteen calligraphic pieces by Liu Huanzhi, which were collected and reserved by his grandson Fangwei. Inclusions are Liu Huanzhi’s poems, postscripts, calligraphic exercises and imitation of earlier calligraphic works. Some were dated in 1763, 1770, 1775, 1798 and 1801, and others not dated.

Liu Huanzhi, native of Zhucheng, Shandong, once severed as the Personnel Minister in the Jiaqing regin (1796-1820). A few pieces of his grandfather Tongxun and uncle Yong have been described above.


Hummel, ECCP, p. 534 for Liu Huanzhi.

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#12

Jiucheng gong liquan ming taben 九成宮醴泉銘拓本 Rubbing of the Inscription of the Sweet Spring in the Jiucheng Palace

一冊。乾隆以後翻刻本。紙本。經折裝。木夾板。高 30釐米，寬 17.2 釐米。鈐“歷下茅/雍熙藏/金石書/畫之印”白文方印，“嬴縮/研齋”朱文方印，“菏澤龐/鏡塘收/藏金石/書畫記”朱文方印。

原碑書於唐貞觀六年（632），魏徵（580-643）撰文，歐

陽詢（557-641）楷書。二十四行，行四十九字。碑在陝

西麟遊。

此件為南宋拓本系統之翻刻本。第二行“長廊四起”中“廊”字末筆未與石泐連；三行

“窮泰極侈”中“侈”字完好；五行“重譯來王”中“重”字僅上部稍損；六行“櫛風沐雨”中“櫛”字僅中下略損；十五行“光武中元元年”中“光”無外框；二十二行“慶與泉流”中“泉”字完好。原碑明代曾經剜改，此件二十三行“雖休弗休”中，“弗”字尚可見，

未如剜本改為“勿”。故其始祖本為南宋拓本。

南宋拓本翻刻本衆多，以乾隆閒秦惠田（1702-1764）本為最，其夜摹肥本末行“永保貞吉”之“吉”字左有一點如黍米狀。此件“吉”字左下亦有一點，但位置不似秦氏

肥本。與上海博物館藏吳湖帆四歐堂南宋本對比，“櫛風沐雨”中，“櫛”字殘泐相同，

但此件“風”、“沐”之間石泐大，“雨”字折筆受損；末行“永保貞吉”，四歐堂本“貞”字末筆與竪筆相連，“吉”字下橫與口部之間石泐較甚。而此本“貞”字無連筆，“吉”

字清晰。故此件屬南宋拓本翻刻本系統，或摹自秦氏肥本，

時間在乾隆以後，即十八世紀後期以後。

前有伊秉綬（1754-1815）嘉慶己未（四年，1799）跋，

云：率更書醴泉銘、虞恭公二碑，皆能于遒緊中饒蕭散之

趣，遺晉人之兒而得其神。明李日華謂晉人如詩之“昔日

我往矣，楊柳依依”四句。此碑如詩之“訏謨定命”二句。

豈不以文出於魏鄭公，尤足為書家增重耶？嘉慶己未花朝

默庵居士伊秉綬。鈐“墨卿/墨緣”朱白文方印，疑僞。又

錄舊句一首，云：妙墨鴻文開國模，魏公嫵媚率更癯。依

依楊柳霏霏雪，要與訏謨定命殊。論書二十首之一，秉綬

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舊句。鈐“墨卿”白文方印，疑僞。兩首跋均不及此拓本來歷，實不符合體式。

茅雍熙，字容甫。山東歷城人。光緒十一年（1885）優貢。

DESCRIPTION

Album of the rubbing of the Inscription of the Sweet Spring in the Jiucheng Palace in one volume in concertina form, on paper between wooden covers, 30.0 cm x 17.2cm.

The original stele was erected in 632, with the text by Wei Zheng (580-643) and calligraphy by Ouyang Xun (557-641) in formal style. Its inscription is one of the classical pieces in Chinese calligraphy.

This rubbing was made from an imitation of the Southern Song (1127-1279) rubbing of the original Inscription. Comparisons of this copy with the published Northern Song and Southern Song editions in facsimile reveal that this copy carries on the main physical features, including historical cracks and perforations, of the Southern Song rubbing of the original inscription. However, a few characters appear slightly different from their Southern Song counterparts, while a few characters damaged in the Southern Song edition became visually complete in this copy.

This imitation shares a few physical features with the one by Qin Huitian (1702-1764). Two postscripts on this copy were attributed to calligrapher Yi Bingshou (1754-1815), yet the seals and signature are highly suspicious. He did not mention anything about the source of this rubbing but approved the original inscription’s aesthetic value. The current rubbing most likely is an imitation of Qin Huitian’s version and produced in the late eighteenth century or even later.



王壯弘，增補校碑隨筆。臺北：華正書局，1985。 DRAFT. NOT FOR CIT

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#17-1

Xunmi ta bei taben 玄秘塔碑拓本 Rubbing of the Stele for the Buddhist Monk Xunmi

一冊。明初拓本。紙本。經折裝。木夾板。高 29 釐米，寬

17.1 釐米。鈐“嘿園/眼福”朱文方印，“鏡唐/審定”朱文方印，

“嬴縮/研齋”朱文方印，“鏡塘/乙酉後/所得”朱文方印。

是碑書於會昌元年（841）。裴休（791-864）撰文，柳公

權（778-865）楷書。二十八行，行五十四字。現存西安碑

林博物館。

該拓本裝訂破損，散亂失次。首行“供奉三教”中“三”字猶見底橫；三行“上柱國”之“國”字已泐，此為南宋以前本特徵。二行“團練觀察”中“觀”字撇筆尚好，應為明初

捶拓。首行“上座”中“上”字中豎與底橫交叉處稍損；四行“大法師端甫靈骨”之“靈”字全闕；九行“雨甘露於法種”中“種”損底橫；十二行“超邁”中“超”字僅“口”部下少

泐；十四行“端拱無事”中“事”字稍損。十六行“十餘万遍指”中“指”之“日”部損，“匕”部右邊殘。與受損南宋本甚接近。暫斷為明初拓本。

南宋拓本有翻刻本。翻刻本顯著特徵：三行“右散騎常侍充集賢殿學士”中“散”字右

下泐，“充”字鈎筆中有石花，此件則無；五行“無以為達道也”中“以”字右下有圓形

石花，此件無；二十三行“劉公法”中“法”字下方有雕刻痕跡，此件則為石泐。

DESCRIPTION

Calligraphic album of the fifteenth-century rubbing of the Stele for the Buddhist Monk Xuanmi in one volume in concertina form, on paper between wooden covers, 29.0cm x17.1cm.

The originally stele was erected in 841, with the text by Pei Xiu (791-864) and calligraphy in formal style by Liu Gongquan (778-865). Its inscription is one of the classical pieces in Chinese calligraphy.

Examinations of certain characters in this copy reveal some physical features, including historical cracks and perforations distinctive to the Southern Song (1127-1279) and early Ming

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rubbings. It bears more erosion of particular characters than the Southern Song rubbing does, but less than the Ming ones do. No physical feature distinctive to the imitation of the Southern Song rubbing appears in this copy.




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#17-2

[Jianben Lanting ji xu taben ba] [監本蘭亭集序拓本跋] [A Postscript to the Rubbing of the Lanting ji xu of the National Academy edition]

一葉。紙本。高 28.8 釐米，寬 30 釐米。原

夾在柳公權玄祕塔碑拓本中。鈐“嘿園”白文

方印。

跋云：

此帖為吾邑前輩王[……殘缺]，舉以奉先叔祖元明公，元明轉以授余，皆有物惟其

人之意。余以易王奉玉歸詩、字彙諸書數十帙，旋遭兵燹，余書俱付劫灰，而奉玉

此帖燦然獨存。余見之驚喜交集，不啻亂後故人。洎乙未[1655]，會余捷南宮，選

讀中祕書，走字奉玉，以此帖復至長安，去詹生燈市之年，凡七十餘年，今與余周

旋，又且十六年，始信離合成毀，物與人無二也。每觀之，不能無感焉。此石今在

國學壁中，故謂監本蘭亭。其是否宋搨定武，余則弗能攷矣。旹康熙庚戌[九年，

1670]閏二月，主人祚遠[……殘二字]氏識。

末鈐“劉印/祚遠”白文方印。

劉祚遠（1611-1673），字子延，號石水，又號鶴林。山東安邱人，順治乙未

（1655）進士。墓誌銘見孫光祀《膽餘軒集》卷五。

此件所述待考，真僞存疑。

DESCRIPTION

Hand script on one mounted folding paper, 28.8 cm x 30.0 cm.

This postscript was written by Liu Zuoyuan (1611-1673. Jinshi 1655). It speaks of his ownership of a rubbing of the inscription of the Lanting ji xu, which had been reserved in a piece of wall in the National Academy in Beijing. Some details are consistent with Liu’s life, but the details about the inscription and rubbing are as suspicious as the way of using his seal is.

Before more details about the inscription of the National Academy edition he mentioned are revealed, it is hard to evaluate this calligraphic piece.

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#18

Wu shi xiaocao 蕪史小艸 A Short Draft of the Miscellaneous History

劉若愚著。康熙四十六年丁亥（1707）張謙宜精抄批本。

不分卷。朱筆批點。四冊。黑絲欄。匡高 17.9 麗米，寬

12.2 釐米。九行，行二十四字。四周單邊，大黑口，雙黑

魚尾相對。鈐“珠雲/仙館藏/書印”朱文方印，“嬴縮/硯齋/藏書”朱文方印，“張印/謙宜”白文方印，“丙戌/進士”朱文

方印，“壹門/八登/甲科”朱文方印，“嘿園/眼福”朱文方印，

“嬴縮/研齋”朱文方印，“鏡塘/長物”白文方印，“鏡塘/所藏/精品”白文方印，“有味”朱文橢圓印，“張循/宜印”白文方

印。

封面題“蕪史”，下鈐“藏書”白文長形印。首“蕪史題詞”，署“康熙四十六年嵗次丁

亥四月初七日，膠州進士張謙宜書。”次錄《明史記事本末》“崇禎元年下太監李永

貞、劉若愚、李實於獄”條，末云：

聞之羅飯牛曰：劉若愚崇禎十三年赦出，蕪史改爲酌中志，在江寧承恩寺前

見此書，未及買。抵淮上，觀紫函鈔本，凡舊稿所缺者，皆在焉。異日購得，

方愜予意。故記之。

康熙戊子[1708]四月二十五日，稚松書於竹窓，歸家計二十三日矣。

次劉若愚“蕪史小艸次序”。崇禎七年識語，分是書為二十三節。後補識語，釐辨書

中稱謂。

書末有“書蕪史後”，署“康熙丁亥[1707]四月朔八日，山東學

究題。”

正文末葉有朱筆跋，云：

此書藏之高相公硜參先生家。豈弱愚死後，法司搜得其稿耶？

不然，公非結交近侍者，何從得之？其原冊塗乙縱橫，必是

手跡無疑。三十年前便見之，恨無力鈔纂。借自相國孫子素，

存衍中者三年，甫能清錄校正。吁，豈不難哉？康熙丁亥

[1707]四月十五日，點定畢記。

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逆賢脅從第十五全闕。

該書即劉若愚《酌中志》，述明萬曆、天啓宮廷掌故。謝國楨《增訂晚明史籍攷》

著錄。據張謙宜所述，其本抄自劉氏手稿。因手稿有殘缺，故其抄本亦註明闕處，

而所闕者於《酌中志》中可見。中國國家圖書館藏有清内府抄本，鈐“雍正宸賞”印，

影印本收入《稀見明史史籍輯存》（北京：綫裝書局，2003）第十冊；兩本差異如

何，待考。

全祖望（1705-1755）《鮚埼亭集外編》卷二十九，稱其家舊藏《酌中志略》原稿，

為劉氏手寫本，其中塗竄頗多，與近本閒有不同。不知其家藏是否即張氏所據同。

劉若愚（1584-約 1642），宦官。《明史》卷三百五有傳。張謙宜，字稚松，一字

山農。膠州人。康熙丙戌（四十五年，1706）舉進士，已年逾六旬，不仕。道光

《重修膠州志》卷二十八有傳。有《絸齋詩選》二卷，《四庫全書總目提要》卷一

百八十四著錄。

匡源（1815-1881），字鶴泉，山東膠州人，別署珠雲仙館。道光二十年（1840）進士。清史稿卷三百八十七有傳。

DESCRIPTION

A fine manuscript scribed in 1707 in four volumes in thread-stitched binding style, on paper with black lines, 17.9cm x 12.2cm, twenty-four characters of nine columns, single edge lines, black folding line, and two folding spots.

This book, also known as Zhuo zhong zhi, records the institutions, buildings and events in the Ming court during the Wanli and Tianqi reigns (1572-1627). The eunuch Liu Ruoyu (1584-ca.1642) wrote this book in jail, attempting to defend himself against the accusation of his involvement in the eunuch faction.

Because of its political sensitivity, Liu’s book was just circulated in manuscript form in the early Qing. This manuscript, according to the scribe Zhang Qianyi (1640s-the early 18th century), was made in 1707 after an earlier manuscript that he believed was Liu’s original draft. Zhang witnessed this draft around 1677 but could not transcribe it until his success in the 1706 metropolitan examination, when he was over 60 years old. Zhang read this manuscript carefully and wrote down his comments in red. A few sections in this manuscript are incomplete or missing because, according to Zhang, the draft he followed was so.

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A manuscript of the same title is held in National Library of China in Beijing, which bears one seal of the Yongzheng emperor’s (r. 1722-1735) and could be later than this copy.


Goodrich, DMB, pp. 950-953 for Liu Ruoyu.

Dardess, John W. Blood and History in China: The Donglin Faction and Its Repression, 1620-1627. Honolulu: University of Hawai’i Press, 2002.

謝國楨，增訂晚明史籍攷。上海：上海古籍出版社，1981。

全祖望，祖望集彙校集注。朱鑄禹校注。上海：上海古籍出版社，2000。

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#19

Xue’an qing shi 雪庵清史 A Pure History of the Snow Hut

樂純著。明萬曆末年金陵書林李少泉刻本。五卷。一函四

冊。匡高 20.3 釐米，寬 13.9 釐米。白口，四周單邊。書口

上列書名，中為卷次，下列葉次。鈐“存仁堂/藏書”白文方

印，“慎思/明辨”朱文方印，“嬴縮/硯齋/藏書”朱文方印，

“鏡塘/長物”白文方印，“嬴縮/研齋”朱文方印，“鏡塘/讀過”白文方印，“得志/當為/天下雨”朱文方印。

存仁堂將四冊分爲“剛”、“柔”、“毅”、“讓”。扉頁題“刻陳

眉公評點雪菴清史”。卷首署“古閩/天湖樂純思白父著/陟瞻余應虯猶龍父訂”。

首勿齋劉祖顔“雪庵清史序”，次萬曆甲寅[1614]余應虯“雪庵清史敍”，“清史自序”，次目錄。書末有劉起漢“清史跋”。卷五頁廿一、廿二、卅七、卅八為抄補。

是書皆錄小品雜言，分清景、清供、清課、清醒、清福五門。《四庫全書總目提要》

卷一百二十八入雜家類存目。樂純，字思白，號天湖子，沙縣人。明季山人。生平

不詳。中國國家圖書館藏有一部，後收入北京圖書館古籍珍本叢刊和四庫全書存目

叢書。

DESCRIPTION

A collection of sketches and maxims published in Nanjing in 1614-1620s in five chapters in four fascicles packed in one case, 20.3cm x 13.9cm, with white folding line and single

edge lines.

One of the three prefaces was dated in 1614. Le Chun (fl. the late 16th – early 17th centuries) was an unsuccessful scholar, whose life remained unknown.

Copies of the same edition are collected in University of Toronto, University of Chicago, University of Michigan, Harvard University, Princeton University and Bayerische Staatsbibliothek (München). The copy in the National Library of China has been published in facsimile.

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#20

Tang Daya ji Youjun shu Wu Jiangjun bei 唐大雅集右軍書吳將軍碑 The Stele for General Wu with Calligraphy by Daya of the Tang in Wang Xizhi’s Style, Rubbing

一冊。乾隆拓本。紙本。經折裝。高 27.1 釐米，寬 14.7 釐米。

殘闕，中有破損。題簽鈐“紹庭/審定”白文方印。首頁鈐“生來

情/性不宜官”朱文橢圓印，“紫藤/華館”白文方印。

即“興福寺半截碑”。舊稱“吳文殘碑”。開元九年（721）僧大

雅集王羲之行書。明萬曆間（1573-1620）出土於西安南城。

出土時僅存下半截，故俗稱“半截碑”，存三十五行，行二十三四五字不等。現存西

安碑林博物館。

此件為乾隆拓本。第二十行“窺四序”中“四”字已無，而明本完好。據説初拓本二十

七行“及厭塵滓”中“及”原作“乃”，此件作“及”。而此件八行“英斷裁於稚齒”中“斷”字之“斤”部完好；二十五行“瘞將軍於地下”中“軍於”二字完好。

哈佛燕京圖書館藏有三部，八行“斷裁”之“斷”字“斤”部殘泐，二十五行“軍於”二字

殘損，為乾隆以後拓本。

DESCRITPION

Rubbing of the Stele for General Wu of the Tang dynasty in one volume in concertina form, on paper, 27.1cm x 14.7 cm.

The stele was erected in 721, with the inscription written by the Buddhist monk Daya in Wang Xizhi’s running style. Only half survived and was excavated during the Wanli period (1573-1620) in Xi’an, where it is currently reserved.

This rubbing was made in the Qianlong period (1735-1796). The character duan 斷 in Column Eight appears normal with its last stroke undamaged. Three rubbings of this inscription collected in the Harvard-Yenching Library are much later than this copy.



吳文殘碑。哈佛燕京圖書館藏。


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#21

[Pang Jingtang cang xinzha] [龐鏡塘藏信札] [Original Written Letters Collected by Pang Jingtang]

紙本。八對折葉。高 33 釐米，寬 23 釐米。

鈐“嬴縮研/齋收藏金/石書畫”白文方印。題今擬。共收錄信札十通：

[#21-1]吳稚暉（1865-1953）手札一通（卅三年/1944）。龐氏手書，述請吳手書集

杜詩楹聯，而誤投事。

[#21-2]柯璜（1876-1963）手札一通。

[#21-3]陳果夫（1892-1951）手札二通（廿八年/1939）。龐氏手書，稱請陳果夫代

懇蔣介石救濟困頓幹部。

[#21-4]錢大鈞（1893-1982）手札二通（不署

年）。

[#21-5]梁啟超（1873-1929）手書飲冰室便箋一

（不書年月）。

[#21-6]胡漢民（1880-1936）手札一通（不署

年）。

[#21-7]張厲生（1901-1971）手札一通（不署年）。

[#21-9]張繼（1882-1947）手札一通（1946）。龐氏手書，為郭振華自日本取囘孫

中山遺墨函電，交與張繼黨史編纂會事。張繼 1940 年 2 月任國史館籌備委員會主

任，1946 年 12 月任國史館館長。

以上信札具體内容待考。

DESCRIPTION

A cluster of eleven original written letters collected by Pang Jingtang, mounted on eight folding paper, 33cm x 23cm.

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In addition to a note by Liang Qichao (1873-1929. #21-5) not addressed to Pang, ten letters were selected by Pang himself from the exchanges between him and his colleagues, all genuine and significant for Pang’s own life and the history of KMT, including

[#21-1] One letter from Wu Zhihui 吳稚暉 (1865-1953), relating to a calligraphic work dedicated by Wu to Pang that has survived.

[#21-2] One letter from Ke Huang 柯璜 (1876-1963), calligrapher and painter.

[#21-3] Two letters from Chen Guofu 陳果夫 (1892-1951), dated in 1939.

[#21-4] Two letters from Qian Dajun 錢大鈞 (1893-1982).

[#21-6] One letter from Hu Hanmin 胡漢民 (1880-1936).

[#21-7] One letter from Zhang Lisheng 張厲生 (1901-1971).

[#21-8] One letter from Zhang Ji 張繼 (1882-1947), relating to the return of some of Dr. Sun Yet-sen’s documents from Japan to Nanjing.

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#23

[Pang Jingtang cang shanmian] [龐鏡塘藏扇面] [Fan-Face Paintings Collected by Pang Jingtang, Thirty-Four Pieces]

一冊。經折裝。寬 58 釐米，高 35 釐米。無題簽。題爲今橅。鈐“嬴縮研/齋收藏

金/石書畫”白文方印，“龐/禕”白文方印。無題簽。題今擬。

Album of fan-face paintings in one volume in concertina form, mounted on paper between hard covers, 58 cm x 35 cm.

收錄扇面三十四件，臚列如下：

Totally thirty-four (34) paintings contained in, which are:

23-01) 明末山水扇面。題款“暮春為/奚翁禪師/峭畫”，朱文方印不可辨識。人名

待考。49.5x22.7 cm

Landscape (the early 16th century). Artist unidentified.

23-02) 戴鑑山水扇面。“法董香光筆意。石坪”，鈐“石坪”白文不規則印。

52.8x24.8 cm

戴鑑，字賦軒，號石坪。山東濟寧人。嘉慶道光閒人。工山水。

Landscape (the 19th century). Dan Jian戴鑑 (fl. the 19th century)

23-03) 戴鑑山水扇面。“秋山晴靄。石坪”，鈐“石坪”白文長形印，“戴”白文

圓形印。52.8x24.6 cm


23-04) 山水扇面。“宗為”，朱文長形印不可辨識。48x22.7 cm

宗為，待考。疑為清晚期。

Landscape (the 19th century). Zong Wei宗為 (unidentified)

23-05) 山水扇面。“癸亥春/如保/畫”，鈐“臣/保”白文方印。51x23.5 cm

Landscape (the 19th century). RuBao如保 (unidentified)

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23-06) 戴鑑山水扇面。“老屋偏多雨，歸帆但信風。石坪”，鈐“臣/鑑”白文方

印。52.5x23.5 cm


23-07) 戴鑑山水扇面。“遠上寒山石徑斜，白雲深處有人家。停車坐愛楓林晚，霜

葉紅於二月花。庚子秋法倪云林大意於冷陶書屋，為瀝庭表姪雅玩。石坪戴

鑑”，鈐“石”、“坪”朱文方印。51x23.5 cm


23-08) 孫貽經山水扇面。“仿戴鹿牀筆意為石帆先生寫。孫貽經”，鈐“孫”朱文

方印。53x24.3 cm

孫貽經（1826-1890），字子授，浙江錢塘人。工書、山水。

Landscape (the 19th century). Sun Yijing (1826-1890)

23-09) 戴鑑山水扇面。“花香來澗遠，山翠向南深。法王廉州筆意。戴鑑”，鈐

“石坪”朱文方印，“戴鑑”白文長形印。53x24.3 cm


23-10) 張學謙山水扇面。“仿倪迂筆。星華仁兄先生雅正。乙卯夏至/張學謙”，

鈐“虛谷/畫印”朱文方印。49x22.5 cm

Landscape (the 19th century). Zhang Xueqian張學謙 (unidentified)

23-11) 洪石農山水扇面。“竹深留客處，荷淨納涼時之句。寫於涕上澹寧堂之北窓

下。石農”，鈐印二，不可辨。52x24.3 cm

洪範，號石農。安徽休寧人，乾隆時人。工書、山水、木石。

Landscape (the 18th century). Hong Fan洪範 (fl. the 18th century)

23-12) 戴鑑山水扇面。“澗水樵路。石坪戴鑑畫”，鈐“石坪”白文長形印，“畫

/印”白文方印。52.5x24.2 cm


23-13) 洞庭山樵山水扇面。“滿湖白雨斜拖腳，水面跳珠亂入船。看雨看山還自得，

不須笠屐學坡仙。洞庭山樵”，鈐“洞庭/山樵”朱文長形印。51x23.5 cm

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洞庭山樵，不詳。當為蘇州人。

Landscape (the 19th century). Dongting shanqiao 洞庭山樵 (unidentified)

23-14) 李潤人物扇面。“纘之仁兄先生正之。辛未[1931]新秋李潤芳園甫寫於黃歇

浦上”，鈐“李潤/之印”白文方印。51x24 cm

李潤（1883-1947），字芳園。上海畫家。

Figures (1931). Li Run 李潤 (1883-1947)

23-15) 程萬里花鳥扇面。“纘之先生大雅屬正。西泠程萬里寫於海上”，鈐“程/萬里”白文方印。50.6x23.5 cm

程萬里，字子鶴，安徽婺源人。善白描，居杭州時，與俞樾、黃孝侯並稱三老。

Flora and birds (the late 19th century). Cheng Wanli 程萬里 (fl. late 19th century)

23-16) 胡鈞人物絹扇面。“風塵三俠。時在丙寅[1926]夏日，以奉纘之仁兄先生雅

鍳。睡仙胡鈞寫”，鈐“x/x”朱文方印。50.2x23.5 cm

胡鈞（1870-1945），又名維緒，號贊廷，又號千之。湖北沔陽人。清季舉人。

Figures (1926). Ink on silk. Hu Jun 胡鈞 (1870-1945)

23-17) 朱偁泥金綢面花鳥扇面。“月樓二兄大人雅屬。丙子[1876]立夏前二日，夢

廬朱偁寫于海上力九齋”，鈐“偁/印”朱文方印。50.8x24 cm

Flora and birds (1876). Ink on golden silk. Zhu Cheng 朱偁 (1826-1900)

23-18) 金龢花鳥扇面。“悅庭一兄大人雅正。夢石金龢寫於申浦上”，鈐“維/x”白文方印。52x23.7 cm

Flora and bird (the late 19th century). Jin He 金龢 (1818-1885)

23-19) 沈疇山水人物扇面。“擕琴訪友。橅六如居士，大氣媿未能得其萬一耳。壽

田沈疇”，鈐“疇”朱文方印。50.5x23.5 cm

Landscape and figures (the early 20th century). Shen Chou 沈疇 (fl. the early 20th century)

23-20) 汪琨山水扇面。“風雨歸舟。仿米家畫法。纘之先生鍳家正之。辛未[1931]六月仲山汪琨”，鈐“仲/山”朱文方印。51.5x23.7 cm

汪琨（1877-1946），字仲山，江西婺源人。

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Landscape (1931). Wang Kun 汪琨 (1877-1946)

23-21) 丁寳書花鳥扇面。“辛未[1931]夏五月。丁寳書仿馬元馭作坡公詩意”，鈐

“嬾云”朱文圓形印，“丁印/寳書”白文方印，“芸/軒”朱文方印。

50.6x23.8cm

Flora and birds (1931). Ding Baoshu 丁寳書 (1865-1936).

23-22) 朱淵花鳥扇面。“偶橅南桉老人筆意，以應贊之仁兄雅屬。丙寅[1746]孟夏

弟朱淵寫”，鈐“朱淵”白文方印，“x 棲/館印”白文方印。50.8x23.3 cm

Flora and birds (1746). Zhu Yuan 朱淵 (fl. the 18th century).

23-23) 黃軒泥金山水扇面。“癸丑[1793]之夏寫似彜老詞兄。黃軒”，鈐“一笑”朱白

文長印。50.4x23.0 cm

黃軒，安徽休寧人。乾隆三十六年（1771）狀元。

Landscape on golden paper (1793). Huang Xuan 黃軒(jinshi 1771)

23-24) 虎圖扇面。“纘之先生。山陰聿光”，鈐“張/聿光”白文方印，“雄風/尤向/畫中

生”朱文方印。51x23.5 cm

Tiger (the early 20th century). Zhang Yuguang 张聿光 (1885-1968).

23-25) 山水團絹扇面。“癸卯[1903?]仲春作於關中旅次。杏林”，鈐“醉六經”朱文長形

印。直徑 24cm

Landscape on round silk (1903?). Xinlin 杏林 (unidentified)

23-26) 趙叔孺篆書扇面。“纘之仁兄雅屬。趙時棡”，鈐“趙印/時棡”白文方印。

51x23.5 cm

Calligraphy in seal script (the early 20th century). Zhao Shuru 趙叔孺 (1874-1945)

23-27) 小楷藍絹扇面。“丙子初夏橅樂毅論，請/月樓二兄大人正。韻軒弟袁訓”，鈐“韻

軒/之章”朱文方印，“古抄子”白文長印。52.5x24 cm

Calligraphy in formal style on blue silk (the early 20th century). Yuan Xun 袁訓 (unidentified)

23-28) 張惟廉行書扇面。“書應/纘之先生雅政。惟廉”，鈐“張”朱文方印，“清河”朱

文長形印。51x23.5 cm

Calligraphy in running style (the early 20th century). Zhang Weilian 張惟廉 (unidentified)

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23-29) 曹廣楨篆書扇面。“節錄在昔篇。辛未[1931]伏日。蔚叟曹廣楨”，鈐“楨”朱文

橢圓印。51.5x23.5 cm

Calligraphy in seal script (1931). Cao Guangzhen 曹廣楨（1864-1937）

23-30) 黃承祿小楷扇面。“辛未[1931]中秋錄醉翁亭記、滄浪亭記應/纘之仁兄先生法家之

屬/浙西黃承祿書”，鈐“黃/承祿”朱文方印。51x23.7 cm

Calligraphy in formal style (1931). Huang Chenglu 黃承祿 (fl. the early 20th century)

23-31) 曹舜欽行書扇面。“纘之先生雅正。曹舜欽”，鈐“舜/欽”朱文方印。49.5x22.7 cm

Calligraphy in running style (the early 20th century). Cao Shunqin 曹舜欽 (fl. the early 20th century)

23-32) 浦文球行書扇面。“悅庭大兄大人正之。甲午[1894]冬十月季韶浦文球”，鈐“季/韶”朱文方印。52x23.5 cm

Calligraphy in running style (1894). Pu Wenqiu 浦文球 (1856-1928)

23-33) 陳陶遺章草扇面。“升庵外集語，寫奉/纘之仁兄先生大教。陳陶遺”，鈐“匋/遺”

朱文方印。50.5x23.3 cm

Calligraphy in cursive script (the early 20th century). Chen Taoyi 陳陶遺 (1881-1946)

23-34) 吳潤吾草書扇面。“纘之仁兄法正。吳潤吾”，鈐“潤/吾”朱文方印。51x23.5 cm

Calligraphy in cursive style (the early 20th century). Wu Runwu 吳潤吾 (unidentified).

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bibliographic descriptions of the second donations from the pang jingtang collection...

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