唐褚遂良摹王羲之長風帖 卷
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- 資料識別：
- 故書000055N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 褚遂良
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 27.5x40.9公分、隔水一 27.5x15.8公分、隔水二 27.5x13.8公分、隔水三 27.5x13.3公分、隔水四 28x13.2公分、拖尾一 27.5x102.4公分、拖尾二 27.5x73.6公分、拖尾三 28x53.9公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁932&*故宮書畫錄（卷一），第一冊，頁8&*褚遂良（西元五九六－六五九年），浙江錢塘人。字登善。博學文史，工楷隸。虞世南死後，太宗嘗歎無人可與論書者，魏徵遂薦遂良，官至尚書右僕射。其書法由虞世南入手，上溯王羲之，功力精深，特以行書為勝。 唐張懷瓘〈書斷〉評褚遂良之書如美女嬋娟，不勝羅綺。乃讚其書體態美麗溫雅，至若用筆則疏瘦勁鍊。&*Ch'u Sui-liang was a native of Ch'ien-t'ang in Chekiang. His style name was Teng-shan. Widely read in literature and history, he was a good calligrapher of the standard and clerical scripts. After the death of Yü Shih-nan (558-638), the Emperor T'ai-tsung complained that he had no one to discuss calligraphy with. Wei Cheng, therefore, recommended Ch'u Sui-liang, who was appointed to a post in the imperial secretariat. His calligraphy was modelled on that of Yü Shih-nan and traced back to that of Wang Hsi-chih (307-365). He was gifted with a precise, well organized technique which can be best seen in his semi-cursive scripts. The T'ang critic Chang Huai-kuan wrote of his work, it has the grace and delicacy of a beautiful woman. He also praised his attractive and elegant style in which the brushstrokes were slender and distinct with an expression of well practiced vigour. &*1.侯怡利，〈唐褚遂良摹王羲之長風帖〉，收入何傳馨、何炎泉、陳韻如編，《晉唐法書名蹟》（臺北：國立故宮博物院，2008年初版），頁83-86。 2.王崇齊，〈褚遂良摹王羲之《長風帖》墨跡流傳小考〉，《故宮文物月刊》，第285期（2006年12月），頁48-56。 &*此帖為雙鉤廓填王羲之草書〈長風〉、〈賢室〉、〈四紙飛白〉三帖，見於〈淳化閣帖〉，此帖缺漏一「叔」字，用筆風格與閣帖明顯不同，顯然非鉤摹自閣帖所收。雖題為褚遂良摹本，但通篇與米芾書法的結字姿態、用筆習慣與線條筆畫極為相似。上有宋高宗「睿思東閣」印，故應是宋人鉤摹米芾自出己意的臨仿本。通篇墨彩醇厚豐潤，筆畫的提按轉折牽絲映帶清晰可見，足見鉤摹之精妙。 (20081012)&*his work is a copy of Wang Hsi-chih’s (303-361) “Ch’ang-feng,” “Hsien-shih,” and “Ssu-chih fei-pai” in cursive script using the method of “double outlines filled with ink.” Also found in the early Northern Sung court compilation known as “Modelbooks of the Ch’un-hua Pavilion,” this work is missing the character “shu 叔,” and the style of brushwork differs from the Ch’un-hua modelbooks. This work was therefore not copied from that compilation. Though attributed as a copy by Ch’u Sui-liang, the work throughout bears the structure and manner in Mi Fu’s (1052-1107) calligraphy, the brush habits and lines being quite similar. The work bears the seal impression “Jui-ssu tung-ko” of the Southern Sung emperor Kao-tsung (r. 1127-1162), suggesting it is probably a Sung outline copy of Mi Fu’s freehand interpretation of Wang Hsi-chih’s calligraphy. The ink tones throughout are mellow and rich, the stops and starts of the strokes along with the turning points clearly revealing traces of the brush, indicating the precision of this tracing copy. (20081012)
- 管理權：
- 國立故宮博物院
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- 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
