董其昌对书法的讨论见于《容台别集》与《画禅室随笔》。董氏论笔法,以正锋提笔、泯灭棱痕为要;论结字,崇尚不作正局、以奇为正;论气韵,以为“淡之玄味,必由天骨”;论通变,则倡言“妙在能合,神在能离”。所论出于自身的作书体验,亦出于对时习之矫正,于晚明书学独树一帜。 Dong Qichang’s discussion on calligraphy can be found in “Taiwan’s Farewell Collection” and “Painting the Zen Chamber Essay.” Tung’s theory of writing, to Zhengfeng mention pen, eliminate the edge of the line marks to; on the end of the word, advocating not as a positive, odd to positive; on the rhyme, that “light of the faint taste, by the natural bone”; on the pass Change, then the proposition “wonderful to be able to fit, God can ”. It is out of its own book writing experience, but also out of the correction of the study, in the late Ming Dynasty calligraphy is unique.