鲜于枢的书法成就，主要在于行草，草书学怀素并能自出新意。他的执笔方法很有特点，使用独特的回腕法；喜欢用狼毫，写字强调骨力。的确，他的行草书骨力劲健，真力饱满。行笔潇洒自然。他的功力很扎实，悬腕作字，笔力遒健。

此帖为鲜于枢书法长卷《茅屋为秋风所歌》，纸本纵31.54厘米，横850厘米，为鲜于枢42岁时所书。

释文：

八月秋高风怒号，卷我屋上三层茅。

茅飞渡江洒江郊，高者挂罥长林梢，

下者飘转沉塘坳。南村群童欺我老

无力，忍能对面为盗贼。公然抱茅

入竹去，唇焦口燥呼不得，归来倚杖自叹

息。俄顷风定云墨色，秋天漠漠向昏

黑。布衾多年冷似铁，娇儿恶卧

踏里裂。床床屋漏无干处，雨脚如

麻未断绝。自经丧乱少睡眠，长夜

沾湿何由彻！安得广厦千万间，

大庇天下寒士俱欢颜！风雨不动

安如山。呜呼！何时眼前突兀见此屋，

吾庐独破受冻死亦足！

右少陵《茅屋爲秋風所破歌》，

玉成先生使書。三易筆，竟此紙。

海嶽公有云:今世所傳顛、素草

書，狂怪怒張，無“二王”法度，皆僞書。東坡亦

謂:吴門蘇氏所寶伯高書“隔簾

歌以俊”等草非張書。誠然，樞作草頗

久，時有合者，不敢去此語也。玉成先

生以为如何？大德二年九月晦日，

困学民鲜于枢伯几父。

鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。

鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。

赵孟頫对他的书法十分推崇，曾说：“余与伯机同学草书，伯机过余远甚，极力追之而不能及，伯机已矣，世乃称仆能书，所谓无佛出称尊尔。”而书法家陈绎曾也说：“今代惟鲜于郎中善悬腕书，余问之，嗔目伸臂曰：胆！胆！胆！”仅就书法史上地位或对后世影响而言，鲜于枢的确难与赵孟頫匹敌，何况他的书法作品（特别是碣石碑版》也远不及赵孟頫丰富。不过，元明以来，仍不乏师法鲜于枢书法之大家、高手，诸如元之边武、董复（均有《千字文》传世》，明之丰坊（上海博物馆藏有其《拟鲜于太常大字卷》》，近代之潘伯鹰等。

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