元鮮于樞書透光古鏡歌 冊
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- 資料識別：
- 故書000162N000000000
- 資料類型：
- 書法
- 著作者：
- 鮮于樞
- 日期：
- TIME STAMP:23-1月 -08
- 格式：
- 本幅 30.5x19.8公分&全幅 35.9x46.5公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1585&故宮書畫錄（卷三），第一冊，頁51&鮮于樞（1257--1302），原籍河北漁陽（今天津薊縣一帶），出生於開封，字伯幾，號困學民，又號西溪。當元世祖南下杭城不久（元至正十八年‧1281），鮮于樞即至杭州，與趙孟頫訂交，切磋書法。子昂贊譽他：「伯幾草書過余甚遠，極力追之，而不能及。」為元代初年一代書法大家，鮮于樞為人意象雄豪，帶有河朔氣，相貌雄偉，蓄美髯，博學又有才氣，工詩詞、通音律、涉獵宗教、精於茶道，富收藏，鑑賞，著有《困學齋集》、《困學齋雜錄》、《困學齋雜記》。 元蘇天爵《滋溪集》：「鮮于樞公早歲學書，愧未能如古人。偶適野，見二人挽車泥淖中，遂悟筆法。」「挽車泥淖」領悟到的是什麼﹖應該是力量的衝擊與運用。本幅原為整紙所書，因為改裝裱成冊，遂裁成條狀，再加拼貼，這猶如一般拓碑的蓑衣裱。字大幾近四寸，出筆雄健，以骨力勝，姿體豐偉，真所謂北方之雄者。詩出麻徵君(1183--1232)，名九疇，字知幾，莫州人。三歲識字，七歲能草書，作大字有及數尺者，故所至有神童之目。章廟召見，問汝入宮殿中，亦懼怯否﹖對曰：「君臣父子也，子寧懼父耶﹖上大奇之。」此詩為郾城張伯玉所藏透光古鏡所賦。（王耀庭）&鮮于樞（西元一二五六－一三0一年），漁陽（今河北薊縣）人。字伯機，號困學民，居杭州，官至太常寺典簿。精鑑定法書、名畫及古器物，吟詩作字，奇態橫生，善行草，趙孟頫極推重之，小楷類鍾繇，早歲學書，愧未能如古人，偶適野見二人輓車行淖泥中，遂悟書法。鮮于樞對草書最為擅長，趙孟頫自歎弗如，在元初其書名顯赫，與趙孟頫並稱兩大巨擘，終元之世，多出入此二家，元末明初，有邊武繼承其學。本幅以練達楷書書之，圓活遒勁，堪稱佳作。&Hsien-yu Shu (style name Po-chi, sobriquet k'un-hsueh-shih) was a native of Chi county in Hopei but lived in Hangchou. He held an official position as archivist in the Court of Imperial Sacrifices. He was skilled in authenticating calligraphy, paintings, and ancient objects, and accomplished in writing poetry and calligraphy. He excelled in running-cursive calligraphy, and Chao Meng-fu often praised him. He also studied the style of Chung Yu for standard script. In his youth, he felt remorseful, thinking that he would never attain the level of the ancients. Once when he happened to see the movements of two people carrying a sedan chair through the mud, he all of a sudden understood the secrets of calligraphy. Hsien-yu Shu excelled particularly in cursive calligraphy, and Chao Meng-fu himself sighed that he was not Hsien-yu Shu's equal. During the early Yuan dynasty, he was a most distinguished and influential calligrapher along with Chao Meng-fu, and later calligraphers took their styles as models. Hsien-yu Shu has written this essay in standard calligraphy with round, strong brushstrokes.
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- 國立故宮博物院
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