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释文:夫自古之善书者,汉魏有钟#张之绝,晋末称二王之妙。王@羲之云:“顷寻诸名书,钟张信为#绝伦,其馀不足观。”可谓钟张#信为绝伦,其馀不足观云没,而#羲献继之。又云:“吾书比之钟#张,钟当抗行,或谓过之。张@草犹当雁行。然张精熟,池水#尽墨,假令寡人耽之若此,未#必谢之。”此乃推张迈钟之意也。#考其专擅,虽未果于前规;#摭以兼通,故无惭于即事。?@者云:“彼之四贤,古今特绝;而今#不逮古,古质而今妍。”夫质以代#兴,妍因俗易。虽书契之作,#适以记言;而淳醨一迁,质文三#变,驰鹜沿革,物理常然。贵能@古不乖时,今不同弊,所谓“文质#彬彬。然后君子。”何必易雕宫于#穴处,反玉辂于椎轮者乎!又#云:“子敬之不及逸少,犹逸少#之不及钟张。”意者以为评得@其纲纪,而未详其始卒也。且元#常专工于隶书,伯英尤精于#草体,彼之二美,而逸少兼之。#拟草则馀真,比真则长草,虽#专工小劣,而博涉多优;总其终@始,匪无乖互。谢安素善尺牍,#而轻子敬之书。子敬尝作佳书#与之,谓必存录,安辄题后答之,#甚以为恨。安尝问敬:“卿书何如右#军?”答云:“故当胜。”安云:“物论殊@不尔。”子敬又答:“时人那得知!#”敬虽权以此辞折安所鉴,自#称胜父,不亦过乎!且立身扬#名,事资尊显,胜母之里,曾#参不入。以子敬之豪翰,绍右@军之笔札,虽复粗传楷则,#实恐未克箕裘。况乃假#托神仙,耻崇家范,以斯成#学,孰愈面墙!后羲之往都,#临行题壁。子敬密拭除之,@辄书易其处,私为不恶。羲#之还见,乃叹曰:“吾去时真大#醉也!”敬乃内惭。是知逸少#之比钟张,则专博斯别;子敬#之不及逸少,无或疑焉。余志@学之年,留心翰墨,昧钟张之余#烈,挹羲献之前规,极虑专精,#时逾二纪。有乖入木之术,无#间临池之志。观夫悬针垂#露之异,奔雷坠石之奇,@鸿飞兽骇之资,鸾舞蛇惊#之态,绝岸颓峰之势,临危#据槁之形。或重若崩云,或#轻如蝉翼。导之则泉注,顿之#则山安。纤纤乎似初月之出@天涯,落落乎犹众星之列河#汉。同自然之妙有,非力运之#能成。信可谓“智巧兼优,心#手双畅;翰不虚动,下必有由。#”一画之间,变起伏于锋杪;一@点之内,殊衄挫于毫芒。况云#积其点画,乃成其字。曾不#傍窥尺牍,俯习寸阴。引班#超以为辞,援项籍而自满。任笔#为体,聚墨成形。心昏拟效之@方,手迷挥运之理,求#其妍妙,不亦谬哉!然君子立#身,务修其本。杨雄谓:“诗赋#小道,壮夫不为。”况复溺思毫#厘,沦精翰墨者也!夫潜神对弈,@犹标坐隐之名;乐志垂纶,尚#体行藏之趣。讵若功宣礼#乐,妙拟神仙,犹挻埴之罔穷,#与工炉而并运。好异尚奇之#士,玩体势之多方;穷微测妙@之夫,得推移之奥赜。著述#者假其糟粕,藻鉴者挹其#菁华,固义理之会归,信#贤达之兼善者矣。存精寓#赏,岂徒然之然??方性@情不一??气以???#而东晋士人,互相陶淬。至于#王谢之族,郗庾之伦,纵不尽#其神奇,咸亦挹其风味。去#之资滋永,斯道逾微。方复闻@疑称疑,得末行末,古今阻绝,#无所质问;设有所会,缄秘#已深;遂令学者茫然,莫知#领要,徒见成功之美,不悟#所致之由。或乃就分布于@累年,向规矩而犹远,图#真不悟,习草将迷。假令#薄解草书,粗传隶法,#则好溺偏固,自阂通规。#讵知心手会归,若同源而@异派;转用之术,犹共树而#分条者乎?加以趋变适时,#行书为要;题勒方畐,真乃#居先。草不兼真,殆于专谨;#真不通草,殊非翰札。真以点@画为形质,使转为情性;草#以点画为情性,使转为形质。#草乖使转,不能成字;真亏点#画,犹可记文。回互虽殊,大体#相涉。故亦傍通二篆,俯贯@八分,包括篇章,涵泳飞白。若#毫厘不察,则胡越殊风者#焉。至如钟繇隶奇,张芝草#圣,此乃专精一体,以致绝伦。#伯英不真,而点画狼藉;元@常不草,使转纵横。自兹己#降,不能兼善者,有所不逮,#非专精也。虽篆隶草章,工#用多变,济成厥美,各有攸#宜:篆尚婉而通,隶欲精而@密,草贵流而流而畅,章务#检而便。然后凛之以风神,温#之以妍润,鼓之以枯劲,和之以#闲雅。故可达其情性,形其#哀乐,验燥湿之殊节,千古@依然;体老壮之异时,百龄俄#顷。嗟乎,?吾学而嗟乎#不入其门,讵窥其奥者也!又#一时而书,有乖有合,合则流媚,#乖则雕疏,略言其由,各有@其五:神怡务闲,一合也;感#惠徇知,二合也;时和气润,#三合也;纸墨相发,四合也;偶#然欲书,五合也。心遽体#留,一乖也;意违势屈,二乖也;@风燥日炎,三乖也;纸墨不#称,四乖也;情怠手阑,五乖#也。乖合之际,优劣互差。得#时不如得器,得器不如得志。若五乖#同萃,思遏手蒙;五合交@臻,神融笔畅。畅无不适,蒙#无所从。当仁者得意忘言,#罕陈其要;企学者希风#叙妙,虽述犹疏。徒立其工,#未敷厥旨。不揆庸昧,辄@效所明;庶欲弘既往之风#规,导将来之器识,除繁#去滥,睹迹明心者焉。代有#《笔阵图》七行,中画执笔#三手,图貌乖舛,点画湮讹。顷见@南北流传,疑是右军所制。#虽则未详真伪,尚可发启#童蒙。既常俗所存,不藉编#录。一????当代遗迹见#存无俟抑扬自标先后@至于诸家势评,多涉浮华,#莫不外状其形,内迷其理,今#之所撰,亦无取焉。若乃师宜#官之高名,徒彰史牒;邯郸淳#之令范,空著缣缃。暨乎崔、@杜以来,萧、羊已往,代祀绵远,#名氏滋繁。或藉甚不渝,人亡#业显;或凭附增价,身谢道#衰。加以糜蠹不传,搜秘将#尽,偶逢缄赏,时亦罕窥,优@劣纷纭,殆难覼缕。其有显#闻当代,遗迹见存,无俟抑#扬,自标先后。且?之所?不#六文之作,肇自轩辕;八体之#兴,始于嬴政。其来尚矣,厥@用斯弘。但今古不同,妍质悬#隔。既非所习,又亦略诸。复有#龙蛇云露之流,龟鹤花英#之类,乍图真于率尔,或写瑞#于当年。巧涉丹青,工亏翰@墨,?异夫楷式,非所详焉。代#传羲之与子敬笔势论十章,#文鄙理疏,意乖言拙,详其旨#趣,殊非右军。且右军位重#才高,调清词雅,声尘未泯,翰@牍仍存。观夫致一书,陈一事,#造次之际,稽古斯在;岂有贻#谋令嗣,道叶义方,章则#顿亏,一至于此!??????#又云与张伯英同学,斯乃@更彰虚诞。若指汉末伯英,# 约理赡,迹显心通;披,#下笔无滞。诡辞异#所详焉。然今之所陈,务#者。但右军之书,代多称习,良@可据为宗匠,取立指归。岂惟#会古通今,亦乃情深调合。#致使摹拓日广,研习岁#滋,先后著名,多从散落;#历代孤绍,非其惑效欤?@试言其由,略陈数意:止如《乐#毅论》、《黄庭经》、《东方朔画#赞》、《太师箴》、《兰亭集序》、#《告誓文》,斯并代俗所传,#真行绝致者也。写《乐毅》@则情多怫郁;书《画赞》则#意涉瑰奇;《黄庭经》则怡#怿虚无;《太师箴》又纵横争#折;暨乎《兰亭》兴集,思逸#神超;私门诫誓,情拘志惨。@所谓涉乐方笑,言哀已叹。#岂惟驻想流波,将贻啴喛#之奏;驰神睢涣,方思藻绘#文。虽其目击道存,尚或#心迷议舛。莫不强名为体,@共习分区。岂知情动形#言,取会风骚之意;阳舒#阴惨,本乎天地之心。既失#其情,理乖其实,原夫所致,#安有体哉!夫运用之方,虽@由己出。规模所设,信属目前。#差之一豪,失之千里。苟知#其术,适可兼通。心不厌精,#落,翰逸神飞,亦犹弘羊#之心,预乎无际;庖丁之目,不@见全牛。尝有好事,就吾求#习,吾乃粗举纲要,随而授#之,无不心悟手从,言忘意得,#纵未穷于众术,断可极#于所诣矣。若思通楷则,少@不如老;学成#规矩,老不如少。思则老而#愈妙,学乃少而可勉。#勉之不已,抑有三时;时然一#变,极其分矣。至如初学@分布,但求平正;既知平正,#务追险绝,既能险绝,复归平正。#初谓未及,中则过之,后乃#通会。通会之际,人书俱老。仲尼#云:“五十知命”、“七十从心”。故以@达夷险之情,体权变之#道,亦犹谋而后动,动不失#宜;时然后言,言必中理矣。是以右军#之书,末年多妙,当缘思虑#通审,志气和平,不激不厉,@而风规自远。子敬已下,莫#不鼓努为力,标置成体,#岂独工用不侔,亦乃神情#悬隔者也。或有鄙其所作,#或乃矜其所运。自矜者将穷@性域,绝于诱进之途;自#鄙者尚屈情涯,必有可通#之理。嗟乎,盖有学而不能,未#有不学而能者也。考之即事,#断可明焉。然消息多方,性情@不一,乍刚柔以合体,忽劳逸而#分躯。或恬憺雍容,内涵筋#骨;或折挫槎枿,外曜锋#芒。察之者尚精,拟之者贵#似。况拟不能似,察不能精,分@布犹疏,形骸未检;跃泉#之态,未睹其妍,窥井之#谈,已闻其丑。纵欲唐突#羲献,诬罔钟张,安能掩当#年之目,杜将来之口!慕习@之辈,尤宜慎诸。至有未悟#淹留,偏追劲疾;不能迅速,#翻效迟重。夫劲速者,超#逸之机;迟留者,赏会之致。#将反其速,行臻会美之@方;专溺于迟,专溺于迟,终#爽绝伦之妙。能速不速,#所谓淹留;因迟就迟,讵名#赏会!非其心闲手敏,难以兼#通者焉。假令众妙攸归,务存@骨气;骨既存矣,而遒润加#之。亦犹枝干扶疏,凌霜雪而#弥劲;花叶鲜茂,与云日而相#晖。如其骨力偏多,遒丽盖#少,则若枯槎架险,巨石当@路,虽妍媚云阙,而体质存#焉。若遒丽居优,骨气将#劣,譬夫芳林落蕊,空照#灼而无依;兰沼漂萍,徒青#翠而奚托。是知偏工易就,@尽善难求。虽学宗一家,#而变成多体,莫不随其性欲,#便以为姿。质直者则径#侹不遒,刚佷者又倔强无润;#矜敛者弊于拘束,脱易者失@于规矩;温柔者伤于软缓,#躁勇者过于剽迫;狐疑者#溺于滞涩,迟重者终于蹇#钝;轻琐者淬于俗吏。斯皆#独行之士,偏玩所乖。《易》曰:“观@乎天文,以察时变;观乎人文,#以化成天下。”况书之为妙,近取#诸身。假令运用未周,尚亏#工于秘奥;而波澜之际,已浚#发于灵台。必能傍通点@画之情,博究始终之理,镕#铸虫篆,陶均草隶。体五#材之并用,仪形不极;象八#音之迭起,感会无方。至若数#画并施,其形各异;众点齐列,为@体互乖。一点成一字之规,一字#乃终篇之准。违而不犯,和而不#同;留不常迟,遣不恒疾;带#燥方润,将浓遂枯;泯规矩于#方圆,遁钩绳之曲直;乍显乍@晦,若行若藏;穷变态于毫#端,合情调于纸上;无间心手,#忘怀楷则;自可背羲献而#无失,违钟张而尚工。譬夫绛#树青琴,殊姿共艳;隋珠和@璧,异质同妍。何必刻鹤图#龙,竟惭真体;得鱼获兔,犹#吝筌蹄。闻夫家有南威#之容,乃可论于淑媛;有#龙泉之利,然后议于断@割。语过其分,实累枢机。#吾尝尽思作书,谓为甚合,时#称识者,辄以引示。其中巧#丽,曾不留目;或有误失,#翻被嗟赏。既昧所见,尤喻@所闻;或以年职自高,轻致#陵诮。余乃假之以缃缥,题#之以古目,则贤者改观,#愚夫继声;竞赏毫末之奇,#罕议锋端之失;犹惠@侯之好伪,似叶公之惧真。#是知伯子之息流波,盖有#由矣。夫蔡邕不谬赏,孙#阳不妄顾者,以其玄鉴精通,#故不滞于耳目也。向使奇@音在爨,庸听惊其妙响;#逸足伏枥,凡识知其绝群,#则伯喈不足称,伯乐未可尚也。#至若老姥遇题扇,初怨而#后请;门生获书几,父削而@子懊。知与不知也。夫士屈#于不知己,而申于知己;#彼不知也,曷足怪乎!故庄#子曰:“朝菌不知晦朔,蟪蛄#不知春秋。”老子云:“下士闻@道,大笑之;不笑之则不#足以为道也。岂可执冰而咎#夏虫哉!@”自汉魏已来,论书者多矣,妍#蚩杂糅,条目纠纷:或重述@旧章,了不殊于既往;或苟兴#新说,竟无益于将来;徒使繁#者弥仍繁,阙者仍阙。今撰为六#篇,分成两卷,第其工用,名曰书谱,#庶使一家后进,奉以规@模;四海知音,或存观省。#缄秘之旨,余无取焉。#垂拱三年写记
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