元明人題錢譜雜文 冊 楊維禎書跋語
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- 資料識別：
- 故書000261N000000010
- 資料類型：
- 書法
- 著作者：
- 楊維禎
- 日期：
- TIME STAMP:09-7月 -08
- 格式：
- 本幅一至七 25.3x32.7公分&全幅 31x45.8公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁467&故宮書畫錄（卷三），第一冊，頁269&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。本幅草書題松江姚氏所藏古泉譜冊，為元明人題錢譜雜文冊之十，行筆蒼勁，結字奇倔，墨色乾濕燥潤變化多端，為楊氏晚年精品。& 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 used cursive calligraphy to write the tenth colophon to the album, Ku-ch’uan-p’u ts’e, which belonged to Mr. Yao of Sung-chiang. Yang Wei-chen’s brush movement is swift and energetic, and the composition of the characters is slightly strange. There is also tremendous variation in the ink tonality. This is a masterpiece which Yang Wei-chen executed late in life. &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。 本幅草書題松江姚氏所藏古泉譜冊，為元明人題錢譜雜文冊之十，行筆蒼勁，結字奇倔，墨色乾濕燥潤變化多端，為楊氏晚年精品。 & Yang Wei-chen (style name Chien-fu and sobriquets Tung-wei-tzu and T’ieh-ti tao-jen was a native of Shao-hsing, Chekiang. At the age of 31, he received his chin-shih civil service degree and served as Magistrate of T’ien-t’ai. However, he was a direct and stalwart figure who made enemies in office. He was thus removed from office. Thereafter, he spent much time studying dynastic history, taking part in the official debate concerning the orthodoxy of rule. He thus became admired for his stance and was restored to his post. With the fall of the Yüan dynasty, he travelled about the south, and in his later years resided in Sung-chiang. Due to his reputation as a scholar and writer, he had many students. His writing was unrestrained and untrammelled in a style that was named after him. His calligraphic style was also somewhat wild and unconventional, much like that of his writing. This work is an inscription in cursive script for the album entitled Ku-ch’üan p’u once in the collection of a Mr. Yao in Sung-chiang, which was collected as leaf 10 in the album Various Writings on the Ch’ien-p’u by Yüan and Ming Artists. His running script is hoary and taut, and the calligraphy eccentric. The differences between moist and dry brush strokes are quite noticeable, making this a masterpiece of Yang’s later years.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
