Foreword by Professor John Minford

The World of the Chinese Ci Poet seems upon first reflection to be something almost too intangible to represent in an exhibition. What is this special world? What kind of a place is it? How can we hope to enter it, across the years, from the bustling streets of a modern city? What objects or exhibits, what fans or ink-stones, can ever hope to evoke the fabric of this fragile universe? How can we see the calligraphies in their proper half-light and recall the silks and screens that once surrounded and framed them?

The gossamer-like lyric poems themselves defy translation into another tongue. So much of their charm and magic evaporates the moment the words are transported out of their Chinese environment. But it is more than that: they almost seem to defy reading, to defy understanding, in the original Chinese. For today's Chinese reader, ci poetry is very much an acquired taste, reading it seems to call for an archaic mode of perception. And yet once we get to know it, it has a surprising intensity. And for centuries it has been at the heart of the Chinese sensibility, an essential element in the "inner" lineage of Chinese literature, one of the indispensable accoutrements of the man of letters, and one of the obligatory skills of that extraordinary phenomenon, the sing-song girl. The ci has haunted their emotional shadowlands, spelling out the cultural space inhabited by the scholar gentleman, his private liaisons and fantasies, his tenuous memories of experiences and half-experiences, his fragments of dreams. Some would say that the ci is one of China's best kept secrets -- an encoded treasure-house of memory hidden away in a secluded studio, down a long and winding path strewn with indecipherable symbols and tantalizing clues. This verse is an endangered species, like some rare vase that grandmother kept on her mantelpiece and that subsequent generations have conspired to ignore and have gradually ceased to understand. But somehow, despite all of this, the species has proved surprisingly hardy. It has survived into the present, this deceptively light genre made up of almost weightless strands of language, half-chanted chains of song-words, near-mute witnesses to the vanished music of a bygone age.

The poetic sensibility of the ci requires of the reader a willingness to register subtle tones, muted colours, faint allusions, elusive memories. It does not deal in bright outlines and striking contrasts, but sings in its own carefully modulated tonality. It does not come at the reader; the reader goes slowly toward it groping in the twilight, entering into a conspiracy of intimacy, a complicité. But nonetheless, the emotional impact of this verse, for all its evanescent subtlety. for all its half-tones, lingers in the mind in a way that more overtly "powerful" poetry often fails to do. It is a world of highly refined sentiment, but not of sentimentality (unless it falls into the wrong hands). It is a rarefied world like that of the great eighteenth-century novel The Story of the Stone (紅樓夢) , a book through the veins of which heightened emotion flows in abundance, while never forcing itself on the reader's attention.

Perhaps the nearest thing in the Western context is the world, and attendant half-world (or demi-monde), of Marcel Proust's masterpiece The Remembrance of Things Past. Just as the strains of Gabriel Fauré's chamber music can be heard in the background of that wonderful work, so with the Chinese ci one catches the occasional phrase on the Chinese lute or guqin, instrument par excellence of the scholar, or the pipa, instrument of the sing-song girl. And perhaps that is the missing link. The silent music. We as readers have to bring that music to the reading. We have to internalize it, we must "know the sound", as the Chinese were wont to say.

Just as the faint but distinctive aroma of a madeleine can evoke memory with such a strange potency, illuminating the very nature of experience, so too the exquisite objects and manuscripts of this exhibition can help us to reconstitute the boundaries of a precious interior world. The objects in themselves are but tokens of an inner universe. They exist by virtue of the threads between them, and those threads are in the mind of the creator and the beholder. The beholder must first enter unseen into the inner world of these texts and calligraphies and paintings and objects, and as he makes his way in, feel for the silken web that binds it together. Without that initiation, there will be no joy, there will be no sorrow.

It is with this in mind that we invite the viewer onto this beautifully assembled stage, constructed with such loving care by my friend Soong Shu-kong, himself an artist and dreamer, an idealist, and last in a long line of living poets. This is an inner chamber, a family sanctuary. Go on your way into it, you are privileged. And remember that these were Chinese gentlemen for whom literature was everything, was life itself. As an Englishman Goldsworthy Lowes Dickinson wrote in 1901 in his Letters from John Chinaman (he knew no Chinese, but firmly believed he had been Chinese in a former life): "A rose in a moonlit garden, the shadow of trees on the turf, almond bloom, the scent of pine, the wine-cup and the guitar;these and the pathos of life and death, the long embrace, the hand outstretched in vain, the moment that glides for ever away, with its freight of music and light, into the shadow and hush of the haunted past, all that we have,all that eludes us, a bird on the wing, a perfume escaped on the gale-to all these things we are trained to respond, and the response is what we call literature."

John Minford
Hong Kong, June 2006

Foreword by Mr. Yeung Chun-tong

Throughout history, the Chinese literati have led two types of lives. In times of despair, scholars retreated in solitude into literature and the arts for the rest of their lives. When in times of prosperity, not only did they establish many friendships, but they also exchanged works of art for appreciation and to learn from one another.

These two ways of life are in fact closely related to elevating one's status in society. If disagreements arose amongst scholars, their lives would naturally become one of emptiness and solitude. But if scholars were able to mutually respect one another, expanding their social networks, life became much more meaningful. In traditional Chinese society, scholarly gatherings often included activities such as playing musical instruments, playing chess, writing poetry and painting. Such congregations would have certainly left behind many great works of art and conversations.

Indeed, the worlds of the arts and the literati are inseparable. The artistic endeavours of scholars defined their social lives, as the gifts they presented to their friends were often their own creations.

We sincerely thank Mr Soong Shu-kong for lending us his father's art collection to make this exhibition depicting the bonds between literati possible. Mr Soong Hsun-leng, was most active during the first half of the twentieth century. He has a great passion for music and the arts, and is a distinguished Ci poet. His scholarly eminence and aesthetic achievements ensured his acquaintance with many famous cultural celebrities, who presented him with gifts of poetry, calligraphy and paintings. We have selected these works of art for exhibition in order to gain insights into the artistic life of a traditional literati.

In today's world, if such a tradition could become a cultural trend, art would thus become a necessity in our lives.

Yeung Chun-tong
Director
University Museum and Art Gallery

Foreword by Professor Ho Kuang-yen

宋緒康先生尊翁訓倫前輩，以仁者壽，得登遐齡 (今年九十七歲)。老人近一世紀珍藏吳興宋氏自清道光以還與其家族暨親朋至相關涉之翰墨文物、書籍圖照，極為富贍，殊屬難得，求之並世豪家鉅室，鲜有其儔。邇者，老人擬將其珍藏之文物圖籍交付展覽，以供世人觀賞，並予學者參研，則其用心之深遠，彌覺可敬矣。緒康先生恭奉  嚴命，謹訂於今 (二零零六年) 八月九日至九月二十四日假香港大學博物館，又於明年内 (二零零七年) 假台北國家歷史博物館，各舉辦一場既深具歷史文化意義，又能冶學術、藝術於一爐之大型展覽會，屆時定必引致國際與港、台各界人士矚目，其盛况之空前，固可預期。饒宗頤教授因緒康先生之請求，題贈「五世文采」 四字以為揚譽；又另書「一個詞人的翰墨因緣」，作為展覽會專刊書名。饒教授之嘉貺，足增光寵，必將令會場與專刊生色。「五世文采」者，蓋推尊緒康先生太高祖炳垣公、高祖培初公、曾祖尊望公、祖父祖綬公，及其尊翁訓倫先生之令聞清德與學藝成就；而「一個詞人的翰墨因緣」，則專屬訓倫前輩，蓋老人富收藏，擅倚聲，所撰《馨蓭詞稿》有稱於時，故饒教授以「詞人」譽之，並兼及其翰墨因緣也。

茲者，緒康先生以《一個詞人的翰墨因緣》為名，就其尊翁之詞作與珍藏文物書畫，编理成展覽會專刊，其内容富贍，製圖精美，闡釋詳洽，固大有裨益於學藝参研。書稿既成，問序於余，屢辭不獲已，爰僅就讀書稿所得，略申臆說，分述如次：

一、吳興宋氏之先世-宋璟、宋祁 

吳興宋氏之先世，可上溯至唐代宋璟。璟封廣平郡公，人稱宋廣平。《舊唐書》卷九十六〈列傳〉第四十六、《新唐書》卷一百二十四〈列傳〉第四十九均有傳。史稱璟「少耿介，有大節，博學，工於文翰」；又稱「璟風度凝遠，人莫涯其量。……為宰相，務清政刑，使官人皆任職。……張嘉貞後為相，閱堂案，見其危言切議，未嘗不失聲歎息」。史臣更譽:「璟善守文，以持天下之正。」是璟之為人與功業，誠未易儔匹者。顏真卿撰其〈碑銘〉，亦盛譽為「唐中興之佐」，蓋真卿所褒許者亦殊隆矣。 

璟撰有〈梅花賦〉，乃賦作之佳構，唐詩人皮日休評為「清便富艷」。其後，祖綬公號其書齋為「賦梅花館」，館中特意珍藏清人張照乾隆四年 (一七三九年) 己未小滿日所書及跋之〈宋廣平梅花賦〉，訓倫前輩亦書「賦梅花館」橫幅，緒康先生又乞名篆刻家王北岳特製「賦梅花館」印，斯皆用表景慕之思者。 

北宋宋祁，亦吳興宋氏之先世。祁字子京，兄庠，字公序，二人傳見《宋史》卷二百八十四〈列傳〉第四十三。《宋史》載祁與兄庠同舉進士，皆以文學顯，而祁尤能文，善議論；修《唐書》十餘年，所為列傳百五十卷。又預修《籍田記》、《集韻》諸書，撰《大樂圖》及文集百卷。卒謚景文。祁詩好用事，辭取妍華，所撰〈獻樞密太尉〉七律詩，中有「相車問羅同牛喘，大廈成時與燕來」之句。炳垣公道光間建造湖州老屋，即起「來燕堂」，亦所以追懷祖德也。

二、太高祖宋炳垣公 

宋炳垣，字月樵，原籍浙江吳興人。清道光元年 (一八二一年) 舉人，九年 (一八二九年) 二甲進士。同治十一年 (一八七二年) 壬申版《吳興科第表》卷二有其科第資料。同榜二甲有理學家倭仁、三甲有經學家龔定庵，見載《明清進士題名碑》。炳垣曾任福建建陽縣知縣,見《湖州府志》。有子培初。 

炳垣所交友，最摯者乃趙慶熺 (一八四七年歿)。慶熺字秋舲，炳垣鄉試同年，道光二年 (一九二二年) 進士，著《香消酒醒詞》一卷，道光二十九年 (一八四九年) 刊行。書中有〈摸魚兒，送宋月樵同年之官閩中〉一闋，情辭懇切篤至。其後訓倫倩畫家程芥子就詞意繪成〈秋江送別圖〉，以記其事。 

會試同年倭仁 (一八七一年歿) ，字艮齋，蒙古正紅旗人。官工部尚書、文淵閣大學士，卒謚文端。著有《倭文端公遺書》，訓倫藏其光緒元年刻本。《清史稿》卷三百九十一〈列傳〉一百七十八有倭仁傳。 

門生黄宗漢 (一八六四年歿) ，字季雲，號壽臣，福建晉江人。道光進士，官浙江巡撫、兩廣總督。宗漢赴鄉試，為炳垣所賞識，由是感戴。及其撫浙時，適炳垣辭世，乃親臨湖州弔唁，備極榮哀，並盡禮而去。 

來燕堂藏有趙次閑「梅花別駕」印、黃仲則行書立軸、顧太清天游閣硯、李慈銘花鳥立軸、鄭文悼行書楹聯。

三、高祖宋培初公

宋培初，字鶴訪，福建候補道，齋號「聞妙香」，有《聞妙香齋詩草》一卷行世。子尊望。 倭仁曾贈培初横披一幅，其文日：「大事難事看擔當，臨喜臨怒看涵養。」深得宋明理學家心法，而其題詞對培初激勵有加。培初《聞妙香齋詩草》中，〈都門即事詩〉有「相國垂青感夙緣」句，句中之相國，即指倭仁。「垂青感夙緣」者，殆指倭仁贈橫披語多勉勵事。 二人契合相惜之情，了然可覩矣。聞妙香齋藏倭仁楷書聯語「慎重安詳因事中理，坦平和鬯與物皆春」、奕繪篆聯「清江無限好，白鳥不勝閑」、蔣春霖隨狙拾橡圖、陳祖望「青鸞黃犬肖像」印與「醇士」印、吳熙載「大好山水中人」印與「畫梅乞米」印、李慈銘七居篇卷、鄭文焯指畫成扇、馮敏昌「如岡如陵」印。

培初所撰《聞妙香齋詩草》，尊望民國十二年 (一九二三年) 付梓，孫祖綬、祖宏校勘，名篆刻書畫家吳昌碩署耑。訓倫先生珍藏此書一冊，有廉南湖作跋。其跋云:「此為宋尊望先生之先人遺稿，竊擬其境在冬郎、放翁之間乎？南湖誌。」。考冬郎，唐韓偓；放翁，宋陸游。南湖稱詩境在韓、陸間，則推譽培初詩固甚隆矣。南湖 (一八六八至一九三二年) ，名泉，江蘇無錫人。精鑑別，擅收藏。著有《潭柘記游詩》、《南湖東游草》等。其夫人吳芝瑛，能書，與秋瑾結金石盟。後收殮秋瑾遺骸於西湖西泠橋畔，亦女中英豪也。

四、曾祖宋尊望公

宋尊望 (一八四二至一九二四年) ，字子鶴，別署寄盦。民初曾任兩浙鹽運副使、山西河東鹽運使兼馬步全軍緝私統領，撰有《鹽政輯要》，未刊行。二子：祖綬、祖宏。祖綬即緒康先生先祖也。

尊望所交游，最摯者為奎俊。奎俊字樂峰，滿正白旗人，官内務府大臣、江蘇巡撫。曾貽尊望水磨墨床、虎黃石各一件。宋家珍藏之物尚有宋尊望所自用「俠骨禪心」、「梅花知己竹為師」印各一方。 

尊望摯友尚有周慶雲 (一八六四至一九三三年)，慶雲字湘舲，又字景星、逢吉，號夢坡，浙江吳興人。能書畫、詩詞，擅古琴，富收藏，嘗斥資於杭州西溪修建「兩浙詞人祠」。慶雲曾為《聞妙香齋詩草》撰序，又輯成《夢坡室金玉印痕》甲子編，民國十三年 (一九二四年) 行世及西溪秋雪庵志。吳興宋氏所珍藏與慶雲有關之文物，尚有周湘舲篆書楹聯、繆荃孫舊藏、周慶雲題〈浣溪沙〉之改七薌畫〈雙紅豆圖〉、周湘舲舊藏並跋〈錢應溥書對聯〉等。 

趙時棡 (一八七四至一九四五年) ，為尊望姻親，字叔孺，號二弩老人，浙江鄞縣人。秀才，任福建同知，篆刻書畫家。宋家收藏有叔孺刻贈徐堯卿端硯與畫作、叔孺畫〈木石〉成扇、叔孺篆書立軸等。 

冒廣生字鶴亭，一字疚齋，別號小三吾亭主，江蘇如皋人。光緒二十年 (一八九四年) 舉人， 明末清初大名士冒辟疆後裔。工詩，擅詞。民國十年 (一九二一年) 任甌海關監督，與尊望交往密切。著《小三吾亭文集》。宋家珍藏冒鶴亭行書立軸，上有詩云：「五代交情百載期，雲門山色護神祠。祖庭風貌吾猶記，忽漫相逢有所思。」可徵兩家五世交誼。另藏冒廣生贈吳梅〈青玉案〉詞箋、高野侯跋高絡園拓冒鶴亭世守冒襄水繪園六面拓印成扇、冒鶴亭跋〈奕繪書顧太清詩〉手卷、冒廣生名片等。 

朱祖謀 (一八五七至一九三一年) ，字孝臧，號古微，又號彊村，浙江人。曾任吏部右侍郎、兩廣學使。晚清一代詞宗，有《疆村詞》、《彊村語業》各一卷。民國後流寓滬上，與尊望往還頻密。宋家所藏有朱疆村贈金西厓隸書對聯、朱疆村書高野侯畫陳巨來刻扇骨成扇。

吳昌碩 (一八四四至一九二七年) ，名俊，又名俊卿，字缶廬，號苦鐵，浙江吳興人。與尊望交厚。尊望父培初公《聞妙香齋詩草》，即倩其署耑。民國十一年 (一九二二年)，尊望八十生辰，昌碩親繪〈壽桃〉條幅並題詩為賀，惜所繪條幅已佚。 

鈕丞藩，號耕蓀，尊望内弟，工書。宋家藏鈕耕蓀書〈如意歌〉杭州畫家王雲〈人物〉成扇、紐耕蓀行書韓鑄畫成扇。

戴傅賢 (一八九一至一九四九年) ，字季陶，號天仇，浙江吴興人。尊望内侄女婿。官黃埔軍校政治部主任、考試院院長、中山大學校長，工小楷。「賦梅花館」藏其行書對聯。

五、祖宋祖綬公 

宋祖綬，字鶴孫，一字越曾，晚號無垢叟。歷任兩浙鹽場知事，工書。齋號「賦梅花館」，用以致念先世宋廣平。弟祖宏，曾共襄《聞妙香齋詩草》校讎事。妻沈儀，三女佩芬，子訓倫。 

祖綬師事方爾謙 (一八七二至一九三六年)。爾謙字地山，號大方，揚州人。光緒十五年 (一八八九年) 舉人。善聯語，人稱「聯聖」。與弟澤山，曾館袁世凱，教授袁克文。「賦梅花館」藏方地山行書立軸、行書對聯。 

俞序文，又名人萃，號荔庵，祖綬姊丈，以收藏明清篆刻名世。與丁鶴廬、王福厂、高絡園、葛晏廬共輯《丁丑劫餘印存》。遺印仍藏「聞妙香齋」中。序文所拓錢塘趙氏四世印拓成扇、及其「香葉簃」藏西泠八大家印存成扇亦收藏宋家。序文弟彦文，號秋漪，所居曰「秋漪吟榭」。母傅青儒，杭州名詩人，名士傅以禮女，幼師事李慈銘，周季貺，撰有《山青雲白軒詩集》一卷，民國十一年 (一九二二年) 壬戌印行，宋家亦藏其書。

賦梅花館藏有李慈銘行書團扇、俞樾墨蘭。

六、父宋訓倫先生 

宋訓倫，字馨菴，一字玉貍，號心冷，宣統二年 (一九一零年) 生於福州，民國二十一年 (一九三二年) 國立中央大學畢業。先後供職浙江地方銀行、上海中國銀行總行、香港郵政儲金匯業局、成都郵政儲金匯業局、蘇浙皖區敵偽產業處理局、上海中央信託局。一九四九年後，服務香港航運巨擘經營之輪船公司，歴三十餘年。現年九十七歲，寄寓泰國曼谷。倚聲為其業餘性情所寄，有《馨菴詞稿》行世。妻陳曼君；女澹宜，婿陳沛文；子緒康。

訓倫好交游，富收藏，所結交書畫篆刻家尤多，擇要介紹如下：

陳九思，名樾，俞彥文贅婿，訓倫表兄。擅畫，訓倫藏俞彥文書陳九思畫〈梅〉成扇。九思能詩，有《轉丸集》。「轉丸」一語，典出《文心雕龍・論說》「轉丸騁其巧辭」，蓋喻作詩便易也。 

沈蔚文 (一八七六年生) ，字炳儒，浙江嘉興人。工墨梅，擅花卉，繪設色牡丹尤精，有「沈牡丹」之稱。曾任北平財政部參事。晚年寓滬，繪畫自娛。訓倫藏其〈花卉〉成扇，徐行恭書詩扇上。

高時豐 (一八七六至一九六零年)，字魚占，號存道，浙江杭縣人。清光緒舉人。工楷、草、篆、 隸、亦擅花卉，繪青松紫藤有獨到處，尤以鐵線篆馳名藝林。訓倫藏其〈松石〉篆書成扇。

周鍊霞 (一九零九至二零零零年)，字紫宜，江西吉安人。精書畫、詩詞。與訓倫情誼最篤。 訓倫珍藏其隸書對聯、〈鸚鵡仕女圖〉、手繪賀年卡、行草〈意難忘〉詞、行草〈唐多令〉詞、〈鳳棲梧〉詞圖、 撫費丹旭姚燮〈懺綺圖〉成扇。 

徐邦達 (一九一一至二零一二年)，字孚尹，號心遠生，又號心遠居士。少習六法，從李醉石學山水，繼游趙叔孺、吴湖帆之門，藝大進。尤擅鑒賞，書追思翁，上參李北海瘦硬之筆，化古為新，自具面目。結緣「漪藝社」，所交皆海内書畫名家。著《東海玄賞錄》。訓倫收其所繪〈墨竹〉成扇。

沈尹默 (一八八三至一九七一年)，字君默，又字秋明，浙江吳興人。工書，擅詩詞、文章。 晚兼工寫竹。歷任北大教授、河北省教育廳長、國立北平女子大學院長。著有《秋明室雜詩》、《沈尹默論書》等。訓倫藏其行書立軸。 

溥儒 (一八九六至一九六三年) ，字心畬，號西山逸士。滿洲宗室。書、畫、詩、詞宗師。 著《寒玉堂集》、《華林雲葉》。與訓倫交誼甚摯，訓倫藏其所繪〈硃竹〉小品、 〈山水〉小品、行書「福」字、楷書楹聯、〈鷓鴣天〉詞圖、〈洛神圖〉立軸、〈狐精〉立軸、〈西山雪景〉扇面、〈雪景〉扇面、〈蕉蔭讀經圖〉扇面；另藏溥儒手寫信箋二通、二人合照一幀。 

高甜心 (一九一五年生) ，江蘇江都人。自幼得父應三、叔友三治印真傳。長酷好吳昌碩篆，名播江都，後以治印為業。訓倫曾贈〈燭影搖紅〉詞，甜心則酬以「玉想瓊思過一生」印。訓倫尚藏高應三刻「玉貍」印，「玉貍」、「宋訓倫」雙面印。

翁煒 (一九零二年生) ，字烈承，浙江杭州人。從吳野洲游，得其指授，畫藝大進。所作花卉，分枝散葉，條暢自如；且設色明淨，清古冶豔。兼工鳥獸、蟲魚。訓倫藏翁烈承畫張炎夫書成扇。

張炎夫 (一九一一至一九八八年) ，原名幼蕉，號南廓居士，浙江杭縣人。從王潛樓學畫，卓然有成，聲譽鵲起。其畫冶清湘、南田於一爐，有奇逸之氣。後與唐雲、來楚生相過從，藝益精進。訓倫藏其〈山水〉横軸。 

戚叔玉 (一九一二至一九九二年)，名鶴九，譜名璋，東北威海衛人。幼承家學，長從金拱北學畫，丁邁鈍學書、治印，從溫毅夫、蒯若水習詩文。精鑑別，書擅眾體，畫嫻山水、人物、花鳥，刻硯、治印，造詣尤精。訓倫藏其〈山水〉立軸。

林千石 (一九一八至一九九零年)，字印禪，廣東鶴山人。工金石、篆刻，旁及書畫，山水、花卉、 翎毛，無不精能。詩詞亦佳。著有《千石書畫印合集》、《青原堂詩》等。訓倫藏其所贈戚叔玉〈山水〉林千石行書成扇，另林千石行書手卷、〈瓜瓞圖〉、行書横幅。 

吳青霞 (一九零七至二零零八年)，號龍城女史，別署篆香閣主。江蘇武進人。善繪事，人物、山水、仕女、走獸，下及花卉、禽魚、蘆雁、果蔬之屬，一經點染，無不精妙。並擅竹楷，勁捷秀麗，世稱獨絕。

陳小翠 (一九零七至一九六八年)，名璻，一字翠娜，號翠侯。浙江杭縣人。工詩能畫，清雅俊逸，別饒風致。著《翠樓吟草》十三卷。 

龐左玉(一九一五至一九六九年) ，名昭，號瑤草廬主。浙江吳興人。工畫擅書，能詩文，兼嗜國劇。所作花鳥，秀逸深雅，風神瀟灑，濃妝豔抹，各得所宜。訓倫藏陳小翠、吳青霞、周鍊霞、 龐左玉四人合繪四屏。 

程鐸聲，杭州人，工篆刻。訓倫藏所贈「天上人間」、「惜花心事」二印。

韓登安 (一九零五至一九七六年) ，名競，一字仲錚，號耿齋,又號印農、小章，浙江蕭山人。工書能畫，精篆刻。著有《登安印存》、《歲華集印譜》。訓倫藏所刻「三分俠骨一片癡心」印。

張大千 (一八九九至一九八三年)，名爰，以字行，四川内江人。天才逼人，師事曾農髯、李梅盦。嘗入敦煌臨摹壁畫，山水、花卉、草蟲、鳥獸、人物、仕女，靡不精妙。兼擅詩書，尤精鑑賞。訓倫藏所贈詩畫成扇。 

王季遷 (一九零六至二零零三年)，宇季千，亦作己千，江蘇吳縣人。精鑑賞，能繪事。訓倫曾藏其〈墨竹圖〉。

劉麟生，安徽人，著《茗邊詞》。訓倫藏所書詞箋。

李猷 (一九一五至一九九七年) ，字嘉有，江蘇常熟人。著名古文家、詩人。擅書法。著有《紅竝樓文存》、《紅竝樓詩集》、《紅竝樓詩話》、《近代詩介》。訓倫藏其集石鼓字對聯、篆書對聯、楷書對聯，另致訓倫行草信箋，緒康又乞其跋「賦梅花館」藏趙之謙舊藏《磚拾集錦》。

葉公超 (一九零四至一九八一年)，原名崇智，室名「友多聞齋」，廣東番禺人。家學淵源，初習四君子,後博撫名家真跡。長作墨竹，兼寫蘭蕙。訓倫藏其〈淇園春雨圖〉附陳子和題詩。

陳子和 (一九一零至一九八四年)，廣東順德人。工書，擅畫，能詩文，精鑑賞。訓倫藏其對聯。

張碧寒 (一九零九至一九九五年)，工畫山水。訓倫藏所繪〈武夷仙地圖〉手卷。

趙鶴琴 (一八九五至一九七一年)，浙江鄞縣人。叔孺侄，工書畫、篆刻。訓倫藏所贈隸書對聯。另刻「宋緒康」玉印。 

程芥子 (一九一零至一九八七年)，名柳燊，以字行。浙江餘姚人。習人物、山水、著《人物畫法淺釋》、《程芥子畫集》。訓倫藏所貽〈山水〉小幅一件。 

顧瑞華 (一九一二至一九九五年)，適程芥子。江蘇武進人。書宗董思白，兼習李北海、米南宫、懷素。訓倫藏所贈行書立軸。 

趙敬予 (一九二一至一九九三年)，號靈芬館主，叔孺子。訓倫表兄。浙江鄞縣人。隨父精研國畫。訓倫藏其所贈立軸〈松鶴長壽〉、〈駿馬〉橫幅。 

吳肖汾 (一九一八年生)，工詩，著《覆瓿賸稿》，曾克耑署耑。訓倫藏其癸丑 (一九七三年) 四月所贈之冊。另「天際思儀盦」藏肖汾曾祖父吳可讀行書對聯及吴柳堂先生誅文正續合編。

王植波 (一九二五至一九六四年)，上海人。工書法，篆、隸、行、草,皆臻精妙。訓倫藏萬樹《詞律》光緒二年吳下開雕本，封套題籤即倩王植波書。

申石迦 (一九零六至二零零一年)，浙江杭縣人。擅畫山水及竹，頗饒俊逸之氣。且擅填詞，書法亦佳。著有《申石迦山水扇冊》、《十萬山水冊》，訓倫藏其〈山水〉立軸。

訓倫所藏朋友貽贈之翰墨、文物，尚有俞人元書傅招穎畫〈山水〉成扇、章孟威畫〈靈芝〉背面燐畫〈春閨夢裡人〉成扇、袁思永詩高其邁〈花卉〉成扇、施伯雄畫《無量壽佛〉張苓高書〈如意歌〉成扇、王念劬書姚虞琴〈墨竹> 成扇、李元龍書對聯、鄧散木刻「一生無計出情關」印。 另訓倫自用及珍藏者有「滿紙春愁墨未乾」與「絲管醉春風」印、綠玉水盂與白玉筆山、白玉墨床與玉狸擺飾、周鍊霞贈玉藕片及 (菩薩蠻) 詞、民國九年蕭山張岱杉影印本《越縵堂日記》、高邕之書贈鄭叔問對聯、光緒二十年丙申版鄭文焯《冷紅詞》、民國六年刻本鄭文焯《瘦碧詞》、民國二年刻本鄭文焯《樵風樂府》。另京劇名角章遏雲所贈劇照二幀亦至足珍貴者。 

訓倫亦善書，是次展出者，計有〈跋丁丑劫餘印存〉護頁、重慶與沈冠亞王致敬唱和戲舊吟詩冊、手書〈龍吟曲〉詞箋、手書詩屏、重獲《越縵堂日記》手書長跋、行書横幅、書小楷范仲淹〈岳陽樓記〉成扇、跋陳心泉《論語話解》、周鍊霞繪〈梅竹〉通景行書對聯、自題墓聯、自題墓誌等。

訓倫喜倚聲，每不諱言。其自撰〈簡歷〉謂：「倚聲為業餘性情所寄，惟以播遷流離，所作散失殆盡，遂裒其殘縑片楮，彙為一帙，名之曰《馨菴詞稿》。」其《馨菴詞稿，自序》又謂：「喪亂以来，舊作散失殆盡。茲編所輯，多為寸楮零縑偶爾倖存者，或記憶所及而能信筆默書者，餘皆曩昔流寓香港時興到之作。下里巴音，原無當於大雅，然此中哀樂，俱見性情。」至其自撰《墓誌》更謂：「時逢衰亂，無以自見。居嘗游志倚聲，著有《馨菴詞稿》一卷，纏綿抒兒女之柔情，忼概發江山之壯采，非冀世賞，聊自娛心。」所自題之〈墓聯〉則曰：「卜兆草山坪，朽骨幸歸民主地；鐫碑《馨菴稿》，蕪詞流發後人思。」統上所記，則訓倫固以「詞人」自期，饒教授以「詞人」譽之，實甚愜訓倫心意也。 

《馨菴詞稿》凡二十九闋，書稿全部采入，並予繫年。摯友吳肖汾讀其詞，致函獎飾曰：「大作雖蒐輯不多，而字字珠璣，讀來齒頰留芬，邁絕倫等。竊以為晚清以來，詩家輒宗蘇、黄，詞則咸推姜、吳，均不出宋人藩籬，孝臧、周頤雖稱一代宗匠，其成就亦非現代人真能領略，以視兄之典雅平實，不逮遠矣。所謂『掎角千秋樹一軍』，兄又何獨不然。」吳氏以「典雅平實」評《馨菴詞》，又謂朱、況二老有所未逮。余細讀《馨菴詞》，感同吳氏，因知肖汾先生所言非過譽也。

以上分六項述說既竟。還觀拙作，文殊乏采，瑣屑連篇，恐終難副緒康先生之所期。語云：「綆短汲深。」又云：「知小謀大。」自維所撰，聊供塞責，尚祈亮詧，固不足以言序也。 

二零零六年四月二十日何廣棪撰，
於華梵大學東方人文思想研究所。