唐顏真卿祭姪文稿 卷
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- 資料識別：
- 故書000060N000000000
- 資料類型：
- 書法
- 著作者：
- 顏真卿
- 格式：
- 引首 29.2x59.6公分
- 前隔水 29.2x11.8公分
- 本幅 28.2x77公分
- 後隔水 28.8x12.1公分
- 拖尾 28.8x368.3公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈續篇（御書房），第四冊，頁1905
- 故宮書畫錄（卷一），第一冊，頁18
- 顏真卿（西元七0九－七八五年），字清臣，山東臨沂人。開元中進士，世稱顏魯公。安史之亂，魯公堂兄顏杲卿孤軍守常山，城破不屈，與子顏季明殉難。魯公在此篇沉痛的祭姪文中，措辭莊重嚴正，然而書寫過程卻流露出至情至性。文中楷、行、草互見，但字字俱有魯公渾圓厚重的楷書基礎。全篇墨色有濃有枯，其中刪改塗抹正可見情緒起伏之跡，最後寫至嗚呼哀哉，哀痛至極遂化為狂草。
- Yen Chen-ch'ing was a native of Shantung and a chin-shih degree holder who was a loyal official and defender of the T'ang. In his effort against the Li Hsi-lieh rebels, he was captured and executed. This work represents a heartfelt requiem written by Yen for his nephew. Despite its serious and formal content, Yen's calligraphy reveals his inner feelings. Elements of standard, running, and cursive script appear, but all are based on Yen's round and heavy strokes in standard script. The ink ranges from thick to dry, and the corrections to the contents reveal the emotional spontaneity of the draft. The final exclamation to the content of the text correlates to the wild cursiveness of the calligraphy found at the end.
- 顏真卿（七０九-七八五），字清臣，開元二十二年（七三四）中舉進士，歷任戶部侍郎、尚書左丞、刑部尚書諸職，曾受封為魯郡公，任平原郡為太守，後世遂稱顏魯公、顏平原、顏太師。祖籍山東臨沂，先祖均為經史訓詁名家。魯公三歲喪父，由母親殷氏教養，二兄顏允南課讀。 唐朝初期書風承隋朝，兼容南北，太宗又特別推重王羲之。開元天寶年間，盛唐時期雍容偉壯風格產生，魯公雄偉氣象的書風，正是代表人物，其影響歷經千年，至今不衰。 天寶年間安史之亂，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，顏杲卿及其子季明殉難。事後魯公派長姪泉明前往善後，因而有此卷之作，這年魯公五十歲。 全卷文字以魯公渾厚的楷書為基礎，楷、行、草各體互見。墨色亦因行筆的起止停走，而有濃枯變化，其中刪改塗抹處，更可見到魯公書寫時情緒起伏轉折的心路歷程。這篇沈痛的祭文，措辭莊重嚴正，流露至情至性的情感，當是魯公存世第一名手書墨蹟。
- Yen Chen-ch'ing, from a renowned family in the Shantung area, was a chin-shih civil service graduate of 734 and served in a number of high offices. During the revolt of Li Hsi-lieh, he was ordered to serve an imperial notice to the rebels. However, he was detained by the rebels and executed, making him a martyr of the T'ang dynasty. Earlier, in the An Lu-shan rebellion, his cousin was serving as a local magistrate. When rebels invaded the area, the T'ang armies did not come to their rescue, resulting in the death of Yen's cousin and nephew. Thus, it was under these circumstances that Yen Chen-ch’ing at the age of 49 composed this work. Early T'ang calligraphy followed that of the Sui dynasty and fused northern and southern styles, and Emperor T'ai-tsung particularly admired the Wang Hsi-chih manner from the 4th century. By the first half of the 8th century, however, the dignified and imposing manner of High T'ang calligraphy was formed, and the grand style of Yen Chen-ch'ing was most representative. The influence of his calligraphy would extend for more than a thousand years, even up to the present day. This work by Yen Chen-ch'ing, however, is a draft for a formal work. With his sturdy standard script as a foundation, his standard, running, and cursive scripts are all evident here. The movement of his brush also reflected changes in wet and dry ink. Consequently, this piece looks as if written in a single sitting. It even includes corrections, revealing the changing emotions and thoughts of Yen Chen-ch’ing as he wrote. Although this is a solemn requiem, it still reveals Yen’s character and emotions, making it one of the premier works from his hand.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
