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畢泠 江山如畫
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書法收藏分享．Calligraphy Collection 摘自 天下文壇 畢泠 2005-02-18 16:46 http://yuhsia.com/ccb/index.pl ... 書法收藏．Calligraphy Collection * 您好！這個主題收集幾篇書法名帖，歡迎一起賞析。 ... 在這個貼文裡，因為篇幅，所以英文部分很擁擠，會在下面各主題的貼文裡，作分段的 ... 處理，方便瀏覽。歡迎貼文交流您的賞析心得，或分享您的收藏。 [color=Blue:69a3419904][b:69a3419904]... 晉 王羲之 快雪時晴帖 ... 唐 孫過庭 書譜 ... 唐 顏真卿 祭姪文稿 ... 唐 懷素 自敘帖 ... 宋 蘇軾 寒食帖 ... 宋 黃庭堅 七言詩 (花氣薰人帖) ... 宋 宋徽宗 詩帖 ... 元 張雨 七言律詩[/b:69a3419904][/color:69a3419904] * 這批是從故宮博物院搬來的 真跡，時間的長河，湮沒的不知凡幾.... ... 真好，還有這些東西，雖然，那麼多收藏家密密麻麻蓋了一堆章子.... ... 直接點擊圖片可以放大，或直接下載附件檔案，歡迎收藏。 * 清茶一盞，點心一盤，您慢慢看..... .[img:69a3419904]http://www.4uup.com/bbs/attachments/forumid_64/Tea_QFzHRB91YSrl.gif[/img:69a3419904] ****[img:69a3419904]http://www.4uup.com/bbs/attachments/forumid_64/loveseed_dJxH3b1Lt9iC.gif[/img:69a3419904] * 晉 快雪時晴帖 王羲之 [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p017b.jpg[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p01c.jpg[/img:69a3419904] [b:69a3419904]晉 快雪時晴帖 [/b:69a3419904] 王羲之 冊紙本 縱 23 公分 橫 14.8 公分 釋文： 羲之頓首。快雪時晴。佳想安善。未果為結。 力不次。王羲之頓首。山陰張侯。 王羲之（約303－361），祖籍山東，出身仕族世家，西晉末隨父南渡，作過右軍將軍，會稽內史，東晉永和年間（345－356）去職，與東土名士盡山水之遊。熱衷詩歌，音樂與書法。他學書歷程是由近而古，轉益多師，取資廣博，尤其精研體勢，將秦篆漢隸各種不同的筆法，融於真行草體中，形成最佳體勢，所以唐朝人稱頌他「兼撮眾法，備成一家，為萬世宗師」。 這是一件行楷書短簡，內容是大雪之後向友人問候。明代鑑賞家詹景鳳指出，此蹟筆法圓勁古雅，意態閑逸，對趙孟頫的行書有很深的影響。從用筆來看，此帖多圓鈍的用筆，點畫勾挑都不露鋒，結體平穩勻稱，在優美的姿態之中，流露出質樸內斂的意韻。乾隆皇帝極珍愛此蹟，譽之為「天下無雙，古今鮮對」。乾隆十一年，他將此蹟與王獻之的「中秋帖」，王珣的「伯遠帖」合稱「三希」，寶藏在「三希堂」中。 撰稿／何傳馨 ...................................................................................................... Timely Clearing After Snowfall Wang Hsi-chih (303-361), Chin dynasty Album leaf, ink on paper, 23 x 14.8 cm Wang Hsi-chih, style name I-sao, was a native of Lin-i in Lang-ya (Shantung province) and a member of the nobility. At the end of the Western Chin (265-316), he accompanied his father in moving south. During his career, he held various official positions. In 351, he was appointed as General of the Right Army and Administrator of K'uai-chi. Sometime between 355 and 356, he chose to resign from all positions and joined other figures of renown on scenic excursions. Wang Hsi-chih was versed in poetry, music, and calligraphy. In the latter, he studied the works of all the masters past and present, frequently changing his models and expanding his repertoire in the process. He was especially gifted in the study of script forms. He took different brush styles, such as Ch'in dynasty (221-206 BC) seal script and Han dynasty (206 BC-220 AD) clerical script, and fused them into standard, running, and cursive scripts to create ideal calligraphy forms. Therefore, later generations in the T'ang dynasty (618-907) praised him as "taking the best of all styles and compiling them into one to become the master of all time." For this reason, he became known as the "Sage Calligrapher". In this short letter written in running script, Wang Hsi-chih sends greetings to a friend after a snowfall. The Ming dynasty connoisseur Chan Ching-feng (1520-1602) pointed out that the round, forceful, elegant nature of the brushwork here has a leisurely spirit that influenced the running script of Chao Meng-fu (1254-1322), an influential calligrapher of the Yuan dynasty. Much of the brushwork appears round and blunt, the dots and hooked strokes not revealing the tip of the brush. The characters are even and balanced, revealing a straightforward elegance and introverted harmony. The Ch'ien-lung Emperor (reigned 1736-1795) in the Ch'ing dynasty especially prized this work, praising it as "The one and only; a masterpiece for all time." In 1747, he had it and "Mid-Autumn" by Wang Hsi-chih's son (Wang Hsien-Chin) and "Po-yuan" by Wang Hsun mounted together to form what he called "The Three Treasures" and housed in a special building--"The Three Treasures Hall". * [b:69a3419904]唐 書譜 孫過庭[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p02b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p02c.jpg[/img:69a3419904] [b:69a3419904]唐 書譜 孫過庭[/b:69a3419904] 卷 紙本 縱 26.5 公分 橫900.8 公分 孫過庭（活動於七世紀後期），一說名虔禮，字過庭，河南陳留人，一說名過庭，字虔禮，浙江富陽人。根據本卷自題，為吳郡人，名過庭。出身寒微，遲至不惑之年始出任率府錄事參軍之職，以性高潔遭讒議而去官。之後，遂專注於書法研究。 本卷卷首題：「書譜捲上。吳郡孫過庭撰」，卷尾題：「垂拱三年寫記」。內容主要為書學體驗、書譜撰寫要旨及學習書法的一些基本原則。一般認為本（上）卷為「序」，宋元明時分為兩卷，入嚴嵩之手時，裝為一卷。下卷為「譜」，作者生前未能完成。 孫過庭專習王羲之草書，筆法精熟，唐代無人能與他相比。本卷紙墨精好，神彩煥發，不僅是一篇文辭優美的書學理論，也是草書藝術的理想典範。卷中融合質樸與妍美書風，運筆中鋒側鋒並用，筆鋒或藏或露，忽起忽倒，隨時都在變化，令人目不暇給。筆勢縱橫灑脫，達到心手相忘之境。 撰稿／何傳馨 ...................... [b:69a3419904]Essay on Calligraphy Sun Kuo-t'ing[/b:69a3419904] (fl. latter half of 7th c.), T'ang Dynasty Handscroll, ink on paper, 26.5 x 900.8 cm Although there is some controversy historical texts over Sun Kuo-t'ing's actual name and native place, it would appear from his signature on this work that Sun Kuo-t'ing indeed was his name and that he was from Wu-chun. Although of humble origins, he eventually went on to serve in high position at court. Since he was of high moral integrity, however, he resigned from officialdom after he was slandered at court. He then turned to focus on the study of calligraphy. The first column of this handscroll at the right translates as follows:" Chapter One of Essay on Calligraphy. By Sun Kuo-t'ing of Wu-chun." The end of the scroll at the left states, "Record written in the third year of the Ch'ui-kung era [687 AD]." The content itself deals mainly with the author's experiences in calligraphy, an essay on essential points, and some basic principles of calligraphy. This handscroll is generally considered to be the preface to a longer work. Sometime from the 10th to 15th century, it was cut into two pieces. Coming into the hands of the Ming dynasty collector Yen Sung (1480-1565), it was remounted as a single work again. It is believed to have been originally composed of two chapters, the second of which was the main essay that the author did not finish. Sun Kuo-t'ing specialized in cursive script using the style of Wang Hsi-chih (ca. 303-361). Sun's style is exceptionally accomplished, and it remained unparalleled throughout the T'ang dynasty (618-907). The paper and ink of this work are in a remarkable state of preservation, providing a detailed and clear account of his dazzling brushwork. This is not only an exceptionally insightful essay on the study of calligraphy, but it is also an ideal model for the art of cursive script. It represents a style that fuses a straightforward quality with beautiful elegance. Sun Kuo-t'ing sometimes held the brush straight and other times at an angle. The tip of the brush is occasionally exposed. The brushwork dashes forth, changing constantly in a way that never ceases to amaze the viewer. The force is strong yet. * [img:69a3419904]http://www.4uup.com/bbs/attachments/forumid_64/loveseed_dJxH3b1Lt9iC.gif[/img:69a3419904] * [b:69a3419904]唐 祭姪文稿 顏真卿[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p03b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p03c.jpg[/img:69a3419904] [b:69a3419904]唐 祭姪文稿 顏真卿[/b:69a3419904] 卷 紙本 縱 28.3公分 橫 75.5 公分 顏真卿（709－785），後世尊稱顏魯公、顏平原。祖籍山東臨沂。李西烈叛亂，魯公奉命前往諭降，貞元元年（785）八月三日，以不屈殉節。安史之亂，魯公堂兄顏杲卿任常山郡太守，賊兵進逼，太原節度使擁兵不救，以至城破，顏杲卿與子顏季明罹難。所以文中說，「賊臣不救，孤城圍逼，父陷子死，巢傾卵覆。」事後魯公派長姪泉明前往善後，僅得杲卿一足、季明頭骨，乃有〈祭姪文稿〉之作，時年魯公五十歲。評論書法作字、向有字如其人之說。魯公一門忠烈，生平大節凜然，精神氣節之反應於翰墨，本卷最為論書者所樂舉。通篇使用一管微禿之筆，以圓健筆法，有若流轉之篆書，自首至尾，雖因墨枯再蘸墨，墨色因停頓起始，黑灰濃枯，多所變化，然前後一氣呵成。 本卷既是起草文稿，其中刪改塗抹，正可見魯公為文構思，始末情懷起伏，胸臆了無掩飾，當是存世魯公手書第一名墨蹟。 撰稿／王耀庭 ....................... [b:69a3419904]Draft of a Requiem to My Nephew Yen Cheng-ch'ing[/b:69a3419904] (709-785), T'ang Dynasty Handscroll, ink on paper, 28.3 x 75.5 cm Yen Chen-ch'ing's ancestors came from the Shantung area. During the revolt of Li Hsi-lieh, Yen Chen-ch'ing was instructed to bring an imperial communique to the rebels. However, he was detained and, on the third day of the eighth lunar month of 785, was executed. Yen therefore has long been considered a loyal martyr of the T'ang dynasty. Earlier, in the rebellion of An Lu-shan, Yen Chen-ch'ing's cousin Yen Kao-ch'ing was serving as magistrate of Shan-chun. When rebel forces invaded the area, the T'ang armies did not come to the rescue, resulting in the fall of the town and the death of Yen Kao-ch'ing and his son, Yen Chi-ming. This is what Yen Chen-ch'ing meant when he wrote in this piece, "Traitorous officials did not rescue [them], so a lone town was surrounded. A father and son perished, and their nest was destroyed." After the incident, Yen Chen-ch'ing sent his elder nephew Ch'uan-ming to the town to make funerary arrangements. However, he could only come up with fragmentary remains of their bodies. Thus, it was under these circumstances that Yen Chen-ch'ing at the age of 49 wrote "Draft of a Requiem to My Nephew." Scholars have pointed out that the character of a person is revealed in the way he does calligraphy. Yen Chen-ch'ing was a man of loyalty and integrity all his life, and this spirit is revealed in his calligraphy. This scroll is one of the works most frequently cited by scholars. It was done with a stubby brush, imparting a round and upright manner that suggests flowing seal script. Though the ink is so dark that it appears scorched, considerable variety to the shades of the ink from start to finish are due to the speed and movement of the brush. Consequently, it looks as if written in a single sitting. This scroll was probably a preliminary draft for a more formal composition. Consequently, Yen Chen-ch'ing went back and crossed out and changed characters in numerous places. This shows how he composed and edited his writing, providing insight into his ideas as well as his calligraphy. Despite the formality of the content, the style of the work reveals considerable emotional unrestraint, making this one of the premier examples from the hand of Yen Chen-ch'ing. * * [b:69a3419904]唐 自敘帖 懷素[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p04b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p04c.jpg[/img:69a3419904] 唐 自敘帖 懷素 卷 紙本 縱 28.3公分 橫 755 公分 懷素（約活動於八世紀三十年代至七十年代）本姓錢，字藏真，僧名懷素。生於湖南零陵縣，後來移居長沙。幼年好佛，出家為僧，並熱衷草書藝術。約大曆七年（772）北赴長安及洛陽，尋求進一步發展。由於他個性灑脫，草書絕妙，受到顏真卿等書家、詩人及名流貴卿的激賞，紛紛贈以詩文。大曆十二年（777），他摘錄部分贈詩和序，以狂草寫成此卷。 本卷用細筆勁毫寫大字，筆畫圓轉遒逸，如曲折盤繞的鋼索，收筆出鋒，銳利如鉤斫，所謂「鐵畫銀鉤」也。全卷強調連綿草勢，運筆上下翻轉，忽左忽右，起伏擺盪，其中有疾有速，有輕有重，像是節奏分明的音樂旋律，極富動感。此外也有點畫分散者，則強調筆斷意連，生生不息的筆勢，筆鋒迴護鉤挑，一字、一行，以至數行之間，點畫互相呼應。通幅於規矩法度中，奇蹤變化，神采動盪，實為草書藝術的極致表現。 撰稿／何傳馨 ......................... [b:69a3419904]Autobiography Huai-su[/b:69a3419904] (fl. ca. 730s-770s), T'ang Dynasty Handscroll, ink on paper, 28.3 x 755 cm Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. Born in Ling-ling County, Hunan, he later moved to Ch'ang-sha. Even as a youth, he was interested in Buddhism, eventually taking the tonsure. Huai-su was also a devotee of the art of cursive script. At around 772, he traveled north to the capital Ch'ang-an and Loyang. His cursive script was similar in spirit to his free and unrestrained personality. It was therefore greatly admired by famous contemporaries, poets, and other calligraphers, such as Yen Chen-ch'ing (709-785), who all presented him with gifts of prose and poetry. In 777, Huai-su transcribed some of these gifts with a preface in "wild" cursive script to create this handscroll. In this work, Huai-su used a fine brush to write out often quite large characters. The strokes are rounded and dashing, almost as if they were steel wires curled and bent. The tip of the brush is exposed where it lifts from the paper, leaving a distinctive hook-hence the description "steel strokes and silver hooks" for his calligraphy. A continuous cursive force permeates the entire piece. The brush skirts up, down, left, and right as it speeds across the paper. The crescendos of the brush, as if it were a sword, reveal varying speeds. The calligraphy also appears heavy and light in places. In other words, this work appears very much like a symphony with distinct rhythms, harmonies and sections where the instruments are all wonderfully orchestrated for an overall sense of feeling and depth. In addition to the strokes, the dots suggest breaks for the flowing strokes. In the relentless force of the brushwork, the centered brush swirled and danced to create character after character and line after line, only to be punctuated by the impeccably placed dots. Despite this piece being "wild" cursive script, it also has a sense of regularity. Thus, this handscroll represents the ultimate in cursive script-control with freedom and spirit with restraint. * [b:69a3419904]宋 寒食帖 蘇軾 [/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p05b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p05c.jpg[/img:69a3419904] 宋 寒食帖 蘇軾 卷 紙本 縱 34.2公分 橫 18 公分 釋文： 自我來黃州，已過三寒食。年年欲惜春，春去不容惜。 今年又苦雨，兩月秋蕭瑟。臥聞海棠花，泥污燕支雪。 闇中偷負去，夜半真有力。何殊病少年（子點去），病起鬚已白。 春江欲入戶，雨勢來不已。（雨點去）小屋如漁舟，濛濛水雲裏。 空庖煮寒菜，破 燒濕葦。那知是寒食，但見烏銜紙。 君門深九重，墳墓在萬里。也擬哭塗窮，死灰吹不起。 右黃州寒食詩帖二首。 蘇軾（1036－1101），四川眉山人，字子瞻，號東坡，曾被控以文字訕謗君上，被貶黃州。東坡一生，宦海浮沈，命運偃蹇，於文學藝術卻有不朽之地。〈黃州寒食詩〉作於1082年，書當在此後。詩是東坡自己明顯有悲奮感情的文詞，字裡行間也就隨著文詞不同的情緒波動，有所節奏變化。就行草書言，字形可大可小，較有自由變化，蘇東坡自謂字體「短長肥脊各有態」，在這卷書法裏字體的大小組合，揖讓進退，乃至於如「年、中、葦、紙」諸字，最後一筆直下成一長豎，在布白與行氣以至於整篇的章法形成一特殊行間布白。蘇書為宋代「尚意」書風的代表人物之一。黃庭堅（1045－1105）於1100年陰曆九月前為此卷作跋，黃庭堅作跋，字形體之大，超過東坡本文寒食詩，雖自謙無佛處稱尊，然實百代爭勝，雙美並具。 撰稿／王耀庭 ..................... [b:69a3419904]The Cold Food Observance Su Shih[/b:69a3419904] (1036-1101), Sung Dynasty Handscroll, ink on paper, 34.2 x 18 cm Su Shih, a native of Szechwan, is probably best known by his sobriquet, Tung-p'o. A bold personality and direct scholar-official, he was accused of literary slander and banished from the capital. Although his career had its vicissitudes at the hands of political opponents, he has always been considered an immortal in the art of poetry and prose. This piece represents poetry that he wrote during exile to Huang-chou in 1082. It was transcribed into a work of calligraphy sometime thereafter. Despite Su's upbeat character, the poetry has an air of dejection to it. The characters and the distance between them, for example, seem to vary rhythmically according to the emotional content. In terms of semi-cursive script, the size of the characters here ranges considerably. Su Shih once said of his own calligraphy that it is "everything from short to long, plump to bony." Here, the size of the characters is sometimes reserved, other times bold. Characters that particularly stand out include those in lines 2 (nien), 5 (chung), 11 (wei), and 13 (chih) from the right, where their last vertical stroke trails down for some distance to stand out against the blank paper. The variation in the thickness of and distance between the lines as well as the size of the characters help to give this work a uniquely individual quality. In fact, Su Shih's calligraphy represents one of the more personal styles of the period. Furthermore, another great Sung calligrapher, Huang T'ing-chien (1045-1105), wrote a colophon for this work sometime before the ninth lunar month of 1100. The sizes of the characters in Huang's colophon are even larger than Su's, creating an ideal complement to this masterpiece of calligraphy. * * [b:69a3419904]宋 七言詩 (花氣薰人帖) 黃庭堅[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p06b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p06c.jpg[/img:69a3419904] 宋 七言詩 (花氣薰人帖) 黃庭堅 冊 紙本 縱 30.7 公分 橫 43.2 公分 宋四家墨寶冊第九幅 釋文： 花氣薰人欲破禪，心情其實過中年。 春來詩思何所似，八節灘頭上水船。 黃庭堅（1045－1105）字魯直，號涪翁，江西分寧人。二十三歲中進士，歷官山西太和知縣，校書郎，著作佐郎，起居舍人，鄂州、涪州、戎州、宜州等知州。與張耒、晁補之、秦觀同游蘇軾門，世稱「蘇門四學士」，尤長於詩，與蘇軾齊名。書法淵源多種，主要受顏真卿、蘇軾和南朝刻石＜瘞鶴銘＞影響，紹聖元年（1094）貶黔中，見懷素草書＜自敘帖＞，受到很多啟發，用筆趨於圓勁，多連綿草勢。 這件書蹟無款印，原是附在元祐二年（1087），寄揚州友人王鞏二詩之後，今已單獨成一帖。前面原有識語，說：「王晉卿（詵）數送詩來索和，老嬾不喜作，此曹狡猾，又頻送花來促詩，戲答。」可知原詩是為王詵作的，表示難於作詩。用筆剛強挺健，墨色有濃潤枯澀的變化，是一件難得的小品。 撰稿／何傳馨 ............................ [b:69a3419904]Poem in Seven-character Verse Huang T'ing-chien[/b:69a3419904] (1045-1105), Sung Dynasty Album leaf, ink on paper, 30.7 x 43.2 cm Huang T'ing-chien (style name Lu-chih; sobriquet Fu-weng) was a native of Fen-ning, Kiangsi. At the age of 23, he received his chin-shih civil service degree. During his career as an official, he served as Prefect of T'ai-ho in Shansi and Editor at court. During the Shao-sheng era (1094-1097), however, he was demoted to Mounted Escort of Fu-chou in Szechuan, living in Ch'ien-chou and later moving to Jung-chou. Late in life, Huang was demoted to I-chou in Kuang-hsi, passing away at the age of 60 in office. Despite the vicissitudes of his career, he is recognized as a major poet-calligrapher of the Northern Sung who associated with Su Shih, whom he equaled in the art of poetry. The sources of his calligraphy were varied, but he was mostly influenced by Yen Chen-ch'ing (709-785), Su Shih, and the Southern Dynasties "I-ho ming" stone engraving. In 1094, he saw Huai-su's (725-777) "Autobiography," a masterpiece in cursive calligraphy now also in the National Palace Museum collection. Inspired, his style became increasingly strong and cursive. In 1087, Huang T'ing-chien wrote two poems to his friend Wang Kung in Yang-chou, saying, "Wang Chih-ch'ing [Shen] has many times written poems waiting for my response, but I have never felt like writing a poem. However, he does not give up, often sending gifts of flowers. In jest, I have written this poem to him¡K." Thus, this poem was originally meant for Wang Shen and it expressed Huang's desire to avoid responding to him. Here, the brushwork is strong and upright, and the ink varies between dry and moist. This is the ninth leaf from the album "Sung ssu-chia mo-pao." * * [b:69a3419904]宋 詩帖 宋徽宗[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p07b.gif[/img:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p07c.jpg[/img:69a3419904] 詩帖 宋徽宗 卷 絹本 縱 27.2 公分 橫 265.9 公分 釋文： 穠芳依翠萼，煥爛一庭中。零露霑如醉，殘霞照似融。 丹青難下筆，造化獨留功。舞蝶迷香徑，翩翩逐晚風。 宋徽宗（1082－1135），姓趙名佶，宋代第八位皇帝，生活奢華，致使成為亡國之君，然性好書畫，且稟賦極高，書畫無不精工，並善體物情，花鳥畫描繪，刻劃入微，尤為擅長。主導北宋晚期畫院，影響中國繪畫至鉅。宋徽宗書法，自號「瘦金書」。這種書風源自唐代薛稷（649－713）、薛曜（活動於684－704），再上則是同出自褚遂良（596－713）。 瘦金體書，特徵是筆畫細瘦，在轉折處，將藏鋒、露鋒、運轉、提頓等痕跡強化並保留下來，那就成為瘦金書的基本筆畫架構。如寫一橫，起筆處是尖，先斜下，而後橫行，收筆留有一頓點，即是特點之一。結體雖楷，而整體運筆，大都直來直往，飄忽快捷，似行如草。本幅朱絲欄界格，字大近５寸，為傳世所見徽宗書法字跡最大者，行筆於瘦金體中屬剛勁一格。 撰稿／王耀庭 ................................ [b:69a3419904]Poem Emperor Hui-tsung [/b:69a3419904](1082-1135), Sung Dynasty Handscroll, ink on silk, 27.2 x 265.9 cm The common name for Emperor Hui-tsung was Chao Chi. Reigning as the eighth emperor of the Sung dynasty (960-1279) from 1101 to 1125, Hui-tsung was known for his excessively extravagant lifestyle, which is believed to be part of the reason for the near collapse of the dynasty and his own demise at enemy hands. However, he was also known for his passion for painting, calligraphy, poetry, and prose. His painting and calligraphy are marked by exceptional refinement and observation to detail. His paintings of birds-and-flowers, in particular, are renowned for their realism and beauty. Hui-tsung was the guiding force behind the Academy of Painting in the late Northern Sung and his influence on early Chinese painting was great. Hui-tsung called his own calligraphic style "slender gold." This style has its origins with those of Hsueh Chi (649-713) and Hsueh Yao (fl. 684-704) of the T'ang dynasty, which in turn evolved out of that of Ch'u Sui-liang (596-658). The slender gold style is characterized by the thin, sharp quality of the strokes as well as the knobby features to the turns and stops of the brush, making the calligraphy appear delicate yet solid. For example, when doing a horizontal stroke, the brush is drawn evenly from left to right, but then at the end, the brush is pressed down diagonally to create a firm stop. Then, with a pause, a trace is shown for the movement of the brush to the next stroke. Although the characters appear formally spaced and sized here as in standard script, the flaring quick movement of the brush at the stops and turns has a light and spirited manner similar to that of running or cursive script. The characters here are also quite large-in fact, the largest among any surviving work by Hui-tsung. * *[b:69a3419904] 元 書七言律詩 張雨[/b:69a3419904] [img:69a3419904]http://www.npm.gov.tw/ch/3_pic/010102/p08c.jpg[/img:69a3419904] 元 書七言律詩 張雨 軸 紙本 縱 108.4 公分 橫 42.6 公分 釋文： 緣雲覓路作清遊。身似飢鷹曉脫韝。一上怒臨飛鳥背。載盤驚天巨鰲頭。 神來甲帳風飄瓦。月墮下方鐘隱樓。為問登高能賦者。陸沉誰復灘神州。 登南峰絕頂。 張雨（1283－1350）字伯雨，號句曲外史、貞居。浙江錢塘人。三十歲時入茅山（江蘇句容縣句曲山）為道士。六十歲棄去道服，埋葬冠劍，恢復儒者身份，往來江浙一帶，與當地文學藝術家相與酬唱。他在文學修養與書法方面都有很高的造詣，在元代道教、佛教與文人間，頗負聲望。 張雨的書法曾得趙孟頫指授，字畫清逸舒放，明代批評家說他：「師北海（李邕），間學素師（懷素），雖非正脈，自有一種風氣。」這幅字形體忽大忽小，傾側動盪，用細筆寫大字，運墨燥濕互濟，鋒勢勁銳，別具縱逸峻厲之勢，尤其第二行與第四行中，一些乾筆飛白的連綿草書，與懷素＜自敘帖＞十分接近，而楷、行、草書體的交互運用，顯示他能放縱能收斂的高度技巧。 撰稿／何傳馨 ................................ [b:69a3419904]Regulated Verse in Seven Characters[/b:69a3419904] [b:69a3419904]Chang Yu[/b:69a3419904] (1283-1350), [b:69a3419904]Yuan Dynasty [/b:69a3419904] Hanging scroll, ink on paper, 108.4 x 42.6 cm Chang Yu (alternate name T'ien-yu, style name Po-yu, and sobriquet Chen-chu-tzu), a native of Ch'ien-t'ang (modern Hangchow), was a well-known Taoist of the Yuan dynasty who moved at the age of 29 to Mao-shan (in Kiangsu), about which he wrote a gazetteer. At the age of 59, he gave up life as a Taoist and became a Confucian scholar, traveling through the Kiangsu and Chekiang area and associating with artists and writers. In addition to being skilled at poetry and prose, he was also an able painter and calligrapher, being praised in the secular and religious world. This particular piece of calligraphy reveals Chang Yu's unique way of ordering the individual characters as well as structuring the composition. The calligraphy is full of twists and turns, rises and falls, and pauses and climaxes. Said by Ming (1368-1644) writers to combine formal and informal elements from the styles of such calligraphers as Li Yung (678-747) and Huai-su (725-777), Chang's style is a dramatic departure from that of his contemporary Chao Meng-fu. Chang once studied calligraphy under Chao Meng-fu, and his running and standard scripts clearly reveal Chao's influence. This scroll, however, goes against traditional standards of beauty to reveal a wilder and bolder side. The manner of Ou-yang Hsun is also sometimes seen, but the characters appear to have been composed as if in a drunken stupor. Chang Yu helped pioneer a new chapter in the art of calligraphy and influenced Yuan and later styles. Ink ranges from dark to dry as if this Taoist had just awoken from intoxication to capture the fleeting traces of inspiration, thus accounting for the spirited and charged brushwork of the piece much in the manner of Huai-su's "Autobiography." * 天下文壇 天下文壇 畢泠 2005-02-18 16:46 http://yuhsia.com/ccb/index.pl |
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摘自 天下文壇 L.A.Tim 2005-02-19 06:33 http://yuhsia.com/ccb/index.pl 張雨那律詩第四句的 '天'，與結句 '灘' 失律，且意不融洽，或許釋文有誤o 天下文壇 天下文壇 L.A.Tim 2005-02-19 06:33 http://yuhsia.com/ccb/index.pl |
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