《行书论书》卷，明，董其昌书，纸本，行书，纵28厘米，横190厘米。
《行书论书》卷释文
钤“董其昌印”印。鉴藏印钤“师言斋珍赏印”、“爽邻”以及乾隆七玺、乾清宫殿座印等。
本幅有董其昌跋：“辛卯余以道馆师田公之丧请告还，时韩馆师曾使朝鲜，有高丽黄笺一卷赠余行。壬辰春还朝，纸已装潢。舟中多暇，随意拈笔，大都论书画法，委弃箧中不知。奴子辈何从复拆作横卷，浮传人间，且二十载矣。今日捡旧时书，忽友人吴太学士以相质，如见故吾尔。时率意点染，颇似蔡君谟书，余未尝学蔡书，偶相合耳。此纸亦有画粉本，惜亦散落。庚辰九月七日，新安江舟次书。董其昌。”钤“太史氏”、“董玄宰”印。鉴藏印钤“荔江”、“程茂莼江鉴赏”等印。
此卷内容乃董其昌数段论书之语，均见于《画禅室随笔》。据董氏自己跋文所记，该卷书于明万历十九年（1591年），为其中年之作，用笔颇生拙古朴。因是随意书写，故字之大小、行距之疏密不甚讲究，但同时又流露出自然淳朴、无拘无束的韵味。卷后有董其昌在20年之后，即万历三十九年（1611年）复见此卷所写的跋，记其书写此卷的前后经过。跋中言其所书与蔡襄书风颇为相似。与前面所写论书内容的书法相比，董氏的自跋运笔墨更加自然，个人风格更加鲜明，反映了其时书法艺术已走向成熟。
--------Introduction in English--------
Book of Commentary on Exercise, Ming Dynasty, Dong Qichang Book, Paper Book, Exercise Book, 28cm in length and 190cm in breadth.
Volume Interpretation of the Book of Commentary on Exercise
Jun "Dong Qichang Yin" seal. The seals of Shiyan Zhai, Shuang Neighbor, Qianlong Seals and Qianqing Palace Seals were collected.
In this picture, Dong Qichangba said, "Xin Maoyu asked for the funeral of Daoguan Master Tian Gong. When the Korean Master had sent to Korea, he had a roll of Koryo Huangjia as a gift. Ren Chen Chun is still in the dynasty. Paper has been decorated. Most of them discuss calligraphy and painting, and abandon the ignorance of the inscriptions. Where did the slaves break up into scrolls and float around the world for twenty years? Today, when I pick up old books, my friend, Wu Tai, confronts me with each other, such as Wuer. It is quite similar to Cai Junmo's book. I haven't studied Cai Shu, and occasionally I have the same ear. This paper also has picture powder, but unfortunately it is scattered. On September 7th, the Boat Book of Xin'an River. Dong Qichang." Jun "Taishi" and "Dong Xuanzai" seals. Seals such as "Lijiang" and "Cheng Mao Yinjiang Appreciation" were collected.
The content of this volume is the words of Dong Qichang's several passages of Confucian classics, which can be found in "Essays on Painting and Zen Room". According to Dong's own postscript, the volume was written in the nineteenth year of Wanli in the Ming Dynasty (1591). It was a middle-aged work with a rather simple and simple pen. Because it is written at will, the size and spacing of the characters are not very particular, but at the same time, it shows a natural and unrestrained charm. At the end of the volume, Dong Qichang returned to the postscript written in the volume after 20 years, that is, in the thirty-ninth year of Wanli (1611), and recorded the process of writing the volume. In the postscript, his book is quite similar to Caixiang's style of writing. Compared with the former calligraphy, Dong's self-portrayal style is more natural and distinct, reflecting the maturity of calligraphy art at that time.
