董其昌（款） | 行書自書七律二首、七絕一首

釋文：持節俄今視草虛，策文仍屬史公書。人從真氣占星使，查泛天河上斗墟。明月小山叢桂侶，新秋一葉剪桐初。離心巳托南征雁，能向羅浮問起居。《送李伯襄封秦藩》專城四十尚為雄，況復東南倚相衝。虎視幾當青眼客，鷹揚翻屬黑頭公。誕彌夏帝乘權始，賦有吳都在部中，極目奇雲壺崗外，旌幢來日蕊珠宮。海岱奇雲盡盪胷，虞跡勝事眇秦封。裝頭亦有家山在，不必登台望九峰。 款識：董其昌書於苑西邸舍。鈐印：宗伯學士、董氏玄宰 題跋：（姚鼐）此是董思翁極不經意之書，其第三首亦是七律，已寫二句，乃悟綾短，去中二聯，草草終之。然用筆乃甚沉摯，其佳處便到魯公也。姚鼐題。鈐印：姬傳（段晴川）董書秀潤天成，而其沉動之氣非他人所可幾及。故秀而浮者，皆贗本也。此書實率意為之，乍看似不滿人意，知書者一見便當了然耳。己卯（1879）小陽月，春湖段晴川題。鈐印：段晴川印（陳希祖）思翁此書法度謹嚴而磅礴出之，其極不經意乃其極變化處也。竊謂學董書者，宜從此種入手。香光甞言「筆畫中宜直不得任意偏曲」，真贗之辨在此，難于入門處亦在此。頗思得魯公帖佳本學之，以為先導，然後刻意學香光真蹟，庶得門而入耳。碩士叔父命跋，姪希祖。鈐印：玉方 邱氏家族鑒藏印：邱永和鑒賞章、吳忠媖印、邱扶輪藏画 鑒藏印：（張效彬）鏡䓿榭藏、固始張氏鏡䓿榭印（畢海梯）海梯審定真跡、古香樓藏寶

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Artist's inscription:
Government duties I now regard as insignificant like grass; policies are still the work of officials. We divine our destinies from the True Breath and the stars, seeking answers in the zone of the Dipper in the Celestial River. A bright moon hangs over a hill studded with osmanthus trees; it was in early autumn that the paulownia leaf was cut. Having lodged my desire to depart in the southward-flying geese, I inquire about living in the Luofu Mountains. "To Li Boxiang upon his departure on official duty to Qinfan"
To govern a prefecture at age forty is an accomplishment, especially at a strategic position between east and south. Even bosom friends now regard you with tiger-like eyes; spreading your wings like an eagle, you have become a powerful young minister. Even since the Xia emperors ascended to power, they harbored the city of Wu within their realm. From the vase-like mountain the sight is of endless miraculous clouds; the flags are from a Daoist immortals' abode.
Miraculous clouds between Bohai and Mount Tai all stir within the heart; traces of the glories of Yu's reign remain in this territory named by the First Emperor. When home lies within the prefaces of the history books, there is no need to ascend a terrace to view the Nine Peaks.

Yao Nai's colophon:
This is an thoroughly unpremeditated work by Dong Siweng. The third poem is also an eight-line regulated verse, but having written two lines [he] realized that the silk was too short, and so skipped the middle couplets and ended the poem abruptly. Nonetheless, his calligraphy is very conscientious, reaching the level of Lugong [Yan Zhenqing] in the excellent passages.

Duan Qingchuan's colophon:
Dong's calligraphy is preternaturally elegant and nourished, equaled by few in its understated vitality. Therefore those works [attributed to him] that are beautiful but shallow are all forgeries. This work of calligraphy was created without premeditation. At first glance it is unsatisfactory, but those who truly know calligraphy will recognize its validity immediately.

Chen Xizu's colophon:
This work of calligraphy by Siweng is rigorous in method and unconstrained in expression, infinitely varied in its thoroughly unplanned execution. It is my humble opinion that people who are after Dong's style should start with works like this. Xiangguang himself once said, " brushwork should be straight and not freely twisted." This is the key to deciding between true and fake, and the reason why his calligraphy is difficult to copy. Posi obtained a fine copy of Lugong's work and studied it as a first lesson, and then dedicated himself to copying Xiangguang's authentic works. Only then did he find his entry.