元人法書 冊 倪瓚書詩五則
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- 資料識別：
- 故書000257N000000002
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 倪瓚
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 23x55.5公分、全幅 50.8x73.9 公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁712-714&*故宮書畫錄（卷三），第一冊，頁252-253&*故宮歷代法書全集，第十六冊，頁68-91、173-179&*倪瓚（西元一三0一年－一三七四年），江蘇無錫人，字元鎮，號雲林，山水風格簡淡，為元四大家之一，他的書法則自成一體，奕奕有晉宋人風氣。元初的趙孟頫學晉唐，書風流美圓潤，而倪瓚則由三國魏鍾繇〈薦季直表〉入手，面貌高古冷逸，無一絲俗塵。本幅字體瘦勁，造型稍扁，但結字甚緊，筆畫尾端強調隸書的波磔動作，將隸書的趣味和張力與楷書結合，本幅為「元人法書」冊之二。&*Ni Tsan was a native of Kiangsu noted in painting for a pure and remote landscape style and as one of the Four Great Yuan Masters. His calligraphy was likewise unique and reflected ancient origins. Chao Meng-fu's study of Chin and T'ang calligraphy in the early Yuan produced a style fluid and rounded. Ni Tsan, however, adopted aspects of the Chung Yu style for his lofty, ethereal, and untrammeled manner. The characters in this work are thin yet solid and forceful, and the forms slightly flat. They are compact with the ends of the strokes emphasizing the downward force of clerical script. He combined the style and tension of clerical script with standard script. This is the second leaf from Album of Yuan Calligraphy.&*倪瓚（西元一三0一－一三七四年），江蘇無錫人。字元鎮，號雲林、迂翁。性俊爽，雅厚敦行，工山水竹石，為元四大家之一。其翰札奕奕有晉宋人風氣，書史謂瓚書從隸入，輒在鍾繇荐季直表中奪舍投胎，古而媚，密而疏，冷逸荒率，如詩中之淵明。本幅書風天然古澹，無一點俗塵，是倪書之佳構。本幅為「元人法書」冊第二開。&*Ni Tsan (style name; Yuan-chen, sobriquets; Yun-lin, Yu-weng) was a native of Wu-hsi, Kiangsu. His personality was extraordinarily gifted, elegant, and sincere. He was good at depicting landscapes and bamboo with rocks and was later known as one of the Four Masters of the Yuan. His letters have, with alterations, the atmosphere of the styles of Tsin (317-420) and Sung (960-1279) period calligraphers. In the history of calligraphy, Ni Tsan's style was described as having derived from clerical script. Through Ni Tsan's repeated and faithful rendering of Chung Yu's (151-230) style, Ni was able to imitate the style so well that his could be mistaken for the other. Ni's style is archaic yet graceful and dense yet sparse. Its spirit is aloofly untrammeled and desolate like that of the famous poet T'ao Yuan-ming (372-427). The style of this piece is natural and archaistic without a trace of banality and is an excellent example of Ni Tsan's calligraphy.&*倪瓚（西元一三0一年－一三七四年），江蘇無錫人，字元鎮，號雲林，山水風格簡淡，為元四大家之一。他的書法則自成一體，奕奕有晉宋人風氣。元初趙孟頫書學晉唐，書風流美圓潤，而倪瓚則由三國魏鍾繇〈薦季直表〉入手，面貌高古冷逸，無一絲俗塵。 本幅字體瘦勁，造型稍扁，但結字甚緊，筆畫尾端強調隸書的波磔動作，將隸書的趣味和張力與楷書結合。(20100406)&* Ni Zan (native to Wuxi, Jiangsu) had the style name Yuanzhen and the sobriquet Yunlin. With his simple and plain landscape style, he became one of the Four Yuan Masters. His calligraphy, in a style of its own, radiates the aura of Jin and Song masters. In the early Yuan, Zhao Mengfu studied Jin and Tang styles to form a fluid and rounded manner, but Ni Zan looked to the “Recommendation for Jizhi” by Zhong You of the Three Kingdoms (Wei) for inspiration, forming a lofty and archaic elegance without a hint of worldliness. The characters here are thin yet strong, the forms slightly flattened. The structure is tight, the stroke ends emphasizing wavelike movements in clerical script. Ni thus combined the style of clerical script with the tension of regular script.(20100406)
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- 國立故宮博物院
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