中国法帖，除断代帖及个人集帖外，几乎所有汇帖均有二王书迹。二王书历来为世所重，唐以后真笔难见，宋时便已稀如星凤，而其摹本众多，仅苏氏一家便有《快雪时晴帖》三种。《阁帖》之后法帖既兴，翻刻尤盛，拓本更是驳杂。《邻苏园帖》所收二王帖足两卷，其中既有墨本已佚长期以拓本流传者如《十七帖》，又有墨本尚在者如《快雪时晴帖》。本文对《邻苏园法帖》所收二王书进行逐一考察，辨明底本，兼论流传、版本，或对其中可疑处试作推测。本文对其底本推论如下：

《十七帖》以“缺十七行本”为主，增补《三井本》而成，其后题跋或采《余清斋帖》。

《万岁通天帖》兼采《真赏斋帖》、《停云馆帖》。

《快雪时晴帖》、《胡母帖》、《诸从帖》》、《官奴帖》均自《快雪堂帖》，《胡母帖》后跋文摹自《余清斋帖》。

《思想帖》、《行穰帖》、《中秋帖》、《兰草帖》、《新埭帖》、《鸭头丸帖》、《迟汝帖》均翻《余清斋帖》。

《二谢书帖》、《袁生帖》翻自《三希堂帖》。

《远宦帖》、《送梨帖》翻自平安馆藏石。

《秋中帖》、《知足下帖》源自《二王帖》。

《裹鲊帖》出自孙承泽刻本。

《丧乱帖》自影本。

《兰亭序》“张金界奴本”自《秋碧堂帖》。

《定武兰亭》自游似旧藏兰亭中某一种。

《寒切帖》不知所出，或翻自明清某种据今传墨迹本上版之法帖。

是知杨守敬偏爱明帖，于辗转翻刻所谓宋帖并不十分青睐。明时，古人墨迹广布人间，又有收藏大家予以汇集，更请章简甫、刘雨若诸名匠据墨迹钩摹刊刻，远精于翻摹宋版者。明亡之际，宝物毁佚不可胜数，至于乾隆又广搜名迹以充内府，此后法书名迹多在禁中，人间遂不得见，故清时法帖规模空前而于晋唐墨宝十分无力。再合《学书迩言》、《评碑记》、《评帖记》之言，则可知选本之时以自认墨迹上石者为先，其人碑帖并重，于金石碑版、刻帖墨迹无所偏废。

The calligraphy of Wang Xizhi and Wang Xianzhi has been valued since ancient times. Their calligraphy works were very rare in the Song Dynasty, and now there is no authentic one, so we can only learn their calligraphy through the imitations of later generations.

Yang Shoujing was a famous scholar in the late Qing Dynasty, who mainly studied geography and stone carvings. He is also proficient in calligraphy. He compiled a collection of ancient calligraphy works called "Linsuyuanfatie". There are also many works by Wang Xizhi and his son, all copied from earlier Fatie.

In ancient times, when there was no modern printing, calligraphy works were spread in this way. In the long transmission process, calligraphy works are easy to change, gradually away from the original appearance. And by careful observation and comparison it is possible to reconstruct the changes that occur during transmission.