宋林逋手札二帖 冊
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- 資料識別：
- 故書000146N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 林逋
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅一 31.4x35.4公分、本幅二 31.5x38.2公分、前副葉一 30x56.3公分、前副葉二 30x56.3公分、前副葉三 30x56.3公分、前副葉四 30x56.3公分、後副葉一 30x45.1公分、後副葉二 30x50公分、後副葉三 30x30.1公分、後副葉四 30x33.3公分、後副葉五 30x56.1公分、後副葉六 30x47.4公分、後副葉七 30x44.8公分、後副葉八 30x46.8公分、後副葉九 30x57.9公分、後副葉十 30x49.7公分、後副葉十一 42.2x60.4公分、後副葉十二 42.2x60.4公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈續編（寧壽宮），第五冊，頁2657 &*故宮書畫錄（卷三），第一冊，頁12 &*1.江兆申，〈沈周題林逋手扎二帖 册〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁295。 2.王耀庭，〈林逋手札〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁232-233。 3.何炎泉，〈林逋手札二帖〉，收入林柏亭主編，《大觀- 北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁457- 460。 4.王耀庭，〈「七十件書畫冊頁名品特展」精選(四) — 林逋手札〉，《故宮文物月刊》，第149期（1995年8月），頁74-75。 5.何炎泉，〈林逋 〈二札〉與隱士書風〉，《故宮文物月刊》，第273期（2005年12月），頁46-59。 &*林逋。西元九六七至一０二八。字君復。錢塘人。少孤力學。恬淡好古。善行書。喜為詩。多奇句。不娶無子。所居植梅蓄鶴。人因謂梅妻鶴子。黃庭堅評林逋書云。和靖筆意。殊類李西臺。而清勁處尤妙。此兩帖為林逋手札。蓋隨意為之者。吳寬詠林書謂。果然遺墨似其人。如倚清風捫瘦竹。可謂善於形容矣。&*Lin P'u was a native of Ch'en-t'ang, Chekiang. His style name was Chün-fu. As a child he was diligent in his studies and loved the ancient classics. He excelled at semi-cursive script and the composing of verse with wonderful imagery. As he remained celibate, he had no sons. At his residence he cultivated plum trees and raised cranes. Thus arose the saying that the plum flower was his wife and cranes his sons. Huang T'ing-chien (1045-1105) said of Lin P'u: "The mildness and serenity of his brushwork bears a resemblance to Li Hsi-t'ai (Chien-chung, Sung dynasty), with the delicate and tensile places especially wonderful." These two notes were written in a casual and relaxed mood. Wu K'uan (1435-1504) further said of Lin: "As would be expected, his brushwork resembles his person: swaying with a gust of cool wind, he grasps a slender bamboo staff."&*林逋（967－1028），字君復，錢塘（今杭州）人，少力學好古，嘗遊於李建中門下，後隱於西湖之孤山，不娶無子，種梅養鶴，仁宗諡和靖先生。書法工行草書，蘇軾認為他的字似李建中而清瘦。歷來評論認為林逋書風的清勁處，正如同其詠梅名句「暗香疏影」一般。作品的寬鬆行距所產生的疏朗逸趣，加上用筆的尖削與轉折的方硬，都讓他的書風更加清瘦勁挺，使人一望而難以忘懷。(20061206)&*Lin P'u, style name Chün-fu, was a native of Ch'ien-t'ang (modern Hangchow). A diligent student of antiquity as a youth, he once studied under Li Chien-chung. Later he became a hermit at Solitary Peak at West Lake in Hangchow. Never marrying or having children, he grew plum trees and raised cranes instead. He was posthumously entitled by Emperor Jen-tsung as “Mr. Peace and Tranquility (Ho-ching)”. Lin P'u excelled at running and cursive scripts, which Su Shih once called purified versions of Li Chien-chung's calligraphy. Later critics over the years applauded Lin's calligraphic style for its clarity and strength of brushwork, just like Lin’s famous stanza in appreciation of plum blossoms; “Hidden fragrance and scattered shadows.” The spaciousness of the lines here produces an untrammeled sense of expansiveness. The angularity of the brush tip and its turns accentuates the purity and thinness of the calligraphic style even further, making for an unforgettable viewing experience.(20061206)
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- 國立故宮博物院
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