明末清初著名书画家八大山人(一六二六—一七○五)在其晚年曾多次临写王羲之的『临河序』,(图一)根据八大山人专家王方宇先生的研究,至少有十九件有八大山人款的『临河序』存世,其中有十二件可确认为真迹。八大山人反复书写『临河序』除了说明他晚年对王羲之的书法的喜爱外,他的这些『临』作也生动而深刻地反映了明末清初书坛『临』的观念的变化,而这一变化又和当时文化氛围中所发生的人们对传统经典的态度的变化息息相关。比较八大山人所书『临河序』和墨迹本中的神龙本『兰亭序』和传拓本中最著名的定武本『兰亭序』,我们可以发现两个明显的不同:(一)在笔墨结构 In the later years of his late years, Baxandan (1626-1750), a famous calligrapher and painter in the late Ming and early Qing dynasties, wrote Wang Xizhi’s “Provisional Order of Rivers” several times in his later years. According to the study by Mr. Wang Fangyu, At least 19 pieces of “Riverside Prologue” with Bada Mountain people survived, of which 12 were authentic. In addition to illustrating his love of Wang Xizhi’s calligraphy in his later years, his “temporary works” vividly and profoundly reflected the changes of the concept of “temporary” in the late Ming and early Qing era This change is closely related to the changes in attitudes toward the traditional canon that occurred in the cultural atmosphere at that time. Comparing the “Provisional Riverside” written by the Badashanren and the Shenlong version of “Lanting Preface” and the most famous fixed-wing version of “Lanting Preface” in this book, we can find two obvious differences: (1) structure