宋志文《登禅寺亭》对联 - 美国大都会艺术博物馆展品查阅

品名（中）	宋志文《登禅寺亭》对联
品名（英）	Couplet from Song Zhiwen’s poem “Ascending the Pavilion at the Monastery of Meditative Concentration”
入馆年号	1981年，1981.285.1
策展部门	亚洲艺术（Asian Art）
创作者	Mi Wanzhong【1570 至 1628】【中国人】
创作年份	公元 1368 - 公元 1644
创作地区
分类	书法（Calligraphy）
尺寸	图像: 134 3/4 x 39 1/8 英寸 (342.3 x 99.4 厘米) 整体: 186 3/4 x 48 英寸 (474.3 x 121.9 厘米) 整体 with knobs: 186 3/4 x 53 3/4 英寸 (474.3 x 136.5 厘米)
介绍（中）	米万忠是明代晚期著名的书法家、画家和鉴赏家，他自称是著名的北宋鉴赏家米芾（1052-1107）的后裔。米万忠在南京担任司法督察期间，与臭名昭著的宫廷太监魏忠贤（1568-1627）发生冲突，并于1625年被迫退休到他位于北京郊区的花园庄园。退休期间，他消磨时间从事艺术创作，包括在后来被称为"米氏灯笼"的灯笼上画自己花园的场景。直到1631年，也就是太监去世四年后，米氏才被重新任命为政府官员。摩崖（刻在悬崖上的不朽文字）在六世纪成为中国北方的一种特殊艺术。在这里，米万忠将摩耶的巨大规模与唐代大师颜真卿（709–785）强大的笔触结合在一起。对联上写着：打开长袍，坐在天堂的边缘，挥挥手，拂去云烟作为一名被腐败的宫廷太监逼下台的士大夫，米芾一定很喜欢以如此大胆的方式写出这些勇敢的文字。
介绍（英）	Mi Wanzhong was a well-known calligrapher, painter, and connoisseur of the late Ming period who claimed descent from the eminent Northern Song artist-connoisseur Mi Fu (1052–1107). While holding the post of judicial inspector in Nanjing, Mi Wanzhong fell afoul of the notorious palace eunuch Wei Zhongxian (1568–1627) and was forced to retire to his garden estate on the outskirts of Beijing in 1625. During his retirement, he whiled away the time indulging in artistic pursuits, including painting scenes of his garden on lanterns that came to be known as "Mi family lanterns." It was not until 1631, four years after the eunuch's death, that Mi was reappointed to government service. Moyai (monumental writing carved into cliffs) became a special art in north China during the sixth century. Here Mi Wanzhong combined the large scale of moyai with the powerful brush style of the Tang master Yan Zhenching (709–785). The couplet reads: Opening my robes, I sit at the edge of heaven, With a wave of my hand, I brush away the clouds and smoke. As a scholar-official forced out of office by a corrupt palace eunuch, Mi must have enjoyed writing these brave words in such a bold manner.