明董其昌書杜甫謁玄元皇帝廟詩 軸
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- 資料識別：
- 故書000025N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 董其昌
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 181.5x46.1公分、全幅 71公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈三編（乾清宮），第二冊，頁576&*故宮書畫錄（卷二），第一冊，頁15-16&*董其昌（西元一五五五－一六三六年），字玄宰，號思白，江蘇華亭人。萬曆十七年（一五八九）進士，官至禮部尚書，諡文敏。天才雋逸，善書畫，富收藏，尤精鑑賞。臨摹書蹟，至忘寢食。行楷之妙，稱絕一代。 本軸臨徐浩書杜甫謁玄元皇帝廟詩，董氏臨罷自題曰：「徐季海書雖方實圓，脫去虞褚姿媚態。」其用筆溫雅敦厚，字字肉豐而力沉，不特得徐浩之法，兼得歐顏之神。雖未署年，然以筆力之沉穩，與筆劃澀進抖動之態推斷，應為晚歲經意之作。&*Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsuan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. This hanging scroll is a freehand copy of Hsu Hao's calligraphy of a poem by Tu Fu. When Tung finished writing this, he wrote, "Although Hsu Chi-hai's (Hsu Hao) calligraphy seems to contain many square brushstrokes, the strokes are in actuality round. His style has abandoned the sweet manner of Yu Shih-nan and Ch'u Sui-liang."The brushwork of Tung's piece is elegant and straightforward and the structure of each character is strong and stalwart. Tung has also captured the combined spirit of Ou-yang Hsun and Yen Chen-ch'ing. Although the work is undated, the forcefulness and stability of his characters, and the uneven, moving quality of the piece suggests that this is a careful work of Tung's late years. &*董其昌（西元一五五五－一六三六年），字玄宰，號思白，江蘇華亭人。萬曆十七年（一五八九）進士，官至禮部尚書，諡文敏。 本軸臨徐浩書〈杜甫謁玄元皇帝廟詩〉，董氏臨罷自題曰：「徐季海書雖方實圓，脫去虞褚姿媚態。」其用筆溫雅敦厚，字字肉豐而力沉，不特得徐浩之法，兼得歐顏之神。雖未署年，然以筆力之沉穩，與筆劃澀進抖動之態推斷，應為晚歲經意之作。(20100102)&* Dong Qichang (native to Huating, Jiangsu) was a Presented Scholar of 1589. He served as Minister of Rites and was posthumously entitled Wenmin. His semi-regular script was considered the best of his day. This is a copy of Xu Hao’s (703-782) transcription of Du Fu’s poem. In the lower left, Dong wrote that Xu Hao’s calligraphy appears to be angular, but it is actually rounded, forsaking the “sweetness” of Yu Shinan and Chu Suiliang’s style. Dong’s brushwork here is elegant and straightforward, each character strong and stalwart—not especially in Xu’s style but in the spirit of Ouyang Xun and Yan Zhenqing instead. Though undated, the characters’ force and stability with the uneven, moving qualities suggest a careful work of Dong’s late years.(20100102)&*1.何傳馨，〈明董其昌杜甫謁玄元皇帝廟詩〉，收入何傳馨編，《書法之美特展圖錄》（臺北：國立故宮博物院，1992年五月初版一刷），頁89。 2.黃惇，〈董其昌偽本書帖考辨〉，《故宮文物月刊》，第142期（1995年1月），頁106-125。
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- 國立故宮博物院
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