元人法書 冊 楊維禎書晚節堂詩
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- 資料識別：
- 故書000257N000000003
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 楊維禎
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 元順帝至正二十一年（1361）
- 格式：
- 本幅 27x57.1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&*1.王耀庭，〈元楊維禎晚節堂詩〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁106-107。 &*楊維禎（西元一二九六－一三七0年），浙江紹興人，字廉夫，號東維子、鐵笛道人。三十二歲及進士第，署天台尹，以狷介故，為黠吏陷，遂免官，往來蘇松一帶。然心繫國事，曾上〈正統辯〉，為時所賞，後復官，會四海兵亂，遂泯跡江浙間。晚年居松江，因其學問文章氣節而來從學者眾。其文放逸險絕，稱鐵崖體，書風亦狂怪清勁，與文風相類。本幅為六十六歲時書，時楊氏已定居松江數載，常於齋中與友人門生瀹茗品酒，試新筆佳墨，賞題字畫。此詩即用奎章賜墨所書，下筆力透紙背，老辣之甚。&*Yang Wei-chen (style name Lien-fu; sobriquets Tung-wei-tzu, T'ieh-ti-tao-jen) was a native of Shao-hsing, Chekiang. He served as an official in T'ien-t'ai. Because of his stubborn, rash, and straightforward personality, he often encountered difficulties with officials. He eventually gave up officialdom and went to Suchou and Sung-chiang. However, still interested in politics, he submitted an essay on orthodoxy and legitimacy (Cheng-t'ung pien). For this, he received much praise and once again became an official. Late in life, he settled in Sung-chiang. Because of his erudition, his literary output, and his moral integrity, he attracted many students. His literary style is daring and risky, and his calligraphy is equally wild and strange. Yang Wei-chen wrote this ode on high quality paper with good ink when he was sixty-six after he had settled in the Sung-chiang area. His well-practiced brushstrokes seem so strong that they might almost have penetrated the surface of the paper. &*故宮歷代法書全集，第十六冊，頁68-91、173-179&*楊維禎（西元一二九六－一三七0年），浙江紹興人，字廉夫，號東維子、鐵笛道人。三十二歲及進士第，署天台尹，以狷介故，為黠吏陷，遂免官，往來蘇松一帶。然心繫國事，曾上〈正統辯〉，為時所賞，後復官，會四海兵亂，遂泯跡江浙間。晚年居松江。 本幅六十六歲（一三六一年）書，用奎章賜墨。時楊氏定居松江數載，常與友人門生瀹茗品酒，試新筆佳墨，賞題字畫。(20100406)&* Yang Weizhen (style name Lianfu; sobriquet Tiedi daoren) was a native of Shaoxing, Zhejiang. A Presented Scholar at 32, he was an official in Tiantai. With his honest and stalwart personality, he ran afoul of officials, who set him up and relieved him of office. He retired to the Suzhou-Songjiang area. Still interested in politics, he submitted an essay on legitimacy. Rewarded with office again, rebellions cut short the Yuan and his career as he later settled in Songjiang. Yang’s calligraphy was wild, pure and forceful. He did this work in 1361 with ink given by the court after settling in Songjiang for several years. He spent his time with friends and disciples enjoying tea and wine. With new brushes and fine ink, he often appreciated painting and calligraphy.(20100406)
- 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
