晉王羲之平安何如奉橘三帖 卷
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料識別：
- 故書000050N000000000
- 資料類型：
- 書法
- 著作者：
- 王羲之
- 日期：
- TIME STAMP:29-6月 -09
- 格式：
- 本幅 24.7x47.3公分&隔水一 24.7x8.7公分&隔水二 24.7x8.4公分&隔水三 24.7x9公分&拖尾一 24.8x60.4公分&隔水四 24.9x4.5公分&隔水五 24.9x9.3公分&拖尾二 24.9x60.8公分&隔水六 24.9x12.9公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初篇（御書房），下冊，頁932&故宮書畫錄（卷一），第一冊，頁1-2&王羲之（西元三０七－三六五年），山東臨沂人，西晉末隨父南渡，曾拜右軍將軍，世稱王右軍。和東晉士人一樣，他嚮往道家，喜愛山水，書風富有詩意和性靈的特質，正代表了藝術家所尋求的自我解放。此三帖雖是唐代以前的雙鉤摹本，但筆劃的使轉勾挑仍可看出充滿速度和方向的變化，書法線條彷彿有了獨立的生命。它打破了隸書方正莊嚴的特質，把書法帶入能自由而豐富地表達個人性情的境地。&Wang Hsi-chih, a native of Shantung, followed his father south at the end of the Western Chin and rose to become General of the Right. Like other Eastern Chin scholars, he leaned towards Taoism and enjoyed the landscape. His callligraphy has a poetic sense and a spiritual quality that precisely reflects the individual freedom sought by artists. These three works mounted onto a single scroll are all tracing copies done before the T'ang, but they still reveal the speed and variety of brushwork where the brush turned and was lifted. The lines appear to have a life of their own. They depart from the formal qualities of clerical script and take the art of calligraphy to a realm of freedom that clearly expresses the individuality of the artist.& 王羲之（303？361），字逸少，山東臨沂人，後來移居浙江會稽。為名門之後，曾任右軍將軍，所以又有「王右軍」的稱號。王羲之初學衛夫人，後來又博採眾長，研習張芝（卒於 192）、鍾繇（151？230）、蔡邕（133？192）、張旭（卒於 206）等人的書法，創造了妍美流麗的書風，有「書聖」的美譽。 這件書蹟是雙鉤廓填（以透明或半透明的紙覆於原作上，先雙鉤字的輪廓，再逐筆填墨）的方法，摹寫在硬黃紙上，包含了三封短信。第一則為「平安帖」，是一件行書兼草書的作品。第二則「何如帖」和第三則「奉橘帖」都是用行書書寫。三帖中，「平安帖」的運筆提按頓挫變化較多，一些牽絲引帶的草書筆法，十分靈巧；「奉橘帖」的字形大小偃仰，也很富變化；相形之下，「何如帖」就比較端整。 釋文： 此粗平安。脩載來十餘 □。□人近集存。想明日 當復悉。□□由同 增慨。 羲之白。不審尊體比復 何如。遲復奉告。羲之中泠無 賴。尋復白。羲之白。 奉橘三百枚。霜未降。未 可多得。 & Wang Hsi-chih, a native of Shantung, followed his father south at the end of the Western Chin and rose to become General of the Right. Like other Eastern Chin scholars, he leaned towards Taoism and enjoyed the landscape. His calligraphy has a poetic sense and a spiritual quality that precisely reflects the individual freedom sought by artists. These three works are all tracings copied onto a single scroll before the T'ang, but they still reveal the speed and variety of brushwork where the brush turned and was lifted. The lines appear to have a life of their own. They depart from the formal qualities of clerical script and take the art of calligraphy to a realm of freedom that clearly expresses the individuality of the artist.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
