宋人法書（三） 冊 宋朱敦儒書尺牘
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- 資料識別：
- 故書000245N000000014
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 朱敦儒
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 31.3x43.1公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈續編（乾清宮），第一冊，頁445 &*故宮書畫錄（第三卷），第一冊，頁180 &*1.朱惠良，〈朱敦儒尺牘〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁243-244。 2.朱惠良，〈「七十件書畫冊頁名品特展」精選(一) — 朱敦儒尺牘〉，《故宮文物月刊》，第146期（1995年5月），頁60。 3.侯怡利，〈書尺牘〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化•書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁376-377。&*朱敦儒〈西元1081-1159年〉，字希真，號巖壑。洛陽人，時稱洛川先生。志行高潔，屢辭薦辟。紹興初，以深達治體，有經世之才，召為迪功郎，奏對稱旨，賜進士出身。工詩及樂府，善書，其書橫斜顛倒，幾凌楊少師。 此通尺牘因首句為「別後塵勞，都不果寓書」，故亦稱「塵勞帖」。通幅以行體書寫，而縱橫揮灑之氣勢大有草書意。 本幅選自「宋人法書冊三」第十四幅。&*Chu Tun-ju (style name His-chen; sobriquet Yen-ho ) was a native of Lo-yang who was also known at the time as Lo-ch'uan hsien-sheng. Of noble and refined character, he often refused recommendation for advance in the government. Early in the Shao-hsing era (1131-1162), he achieved a reputation for expertise in politics and upright administration. Since he was adept at writing memorials, he was appointed to Gentleman for Meritorious Achievement. He was capable at poetry and ballads while excelling at calligraphy. Chu's style involved slanted characters somewhat like that of Yang Ning-shih (873-957). The name of this letter by Chu Tun-ju, "Ch'en-lao", is derived from same two character which appear in the first line of text. The letter was done in running script, yet the fluid force of the horizontal and vertical strokes all have the force and quality of cursive script. This is the fourteenth leaf in the album Sung-jen fa-shu III.&*朱敦儒（1081-1159），字希真，號巖壑，洛陽人，時稱洛川先生。工詩詞樂府，風格婉麗清暢。書法聞名於南宋，朱熹稱其小楷書「精妙醇古」，「追跡元常」。趙孟堅則云「書法橫斜顛倒，幾若楊少師」。 此行草書信札，約寫於紹興八、九年間，對友人所收李西臺書蹟「日夜夢想」，故欲借觀，足見對李建中古典書風之嚮往。在結字上橫扁取法鍾繇，筆法縱意似楊凝式，姿態敧側如蘇、黃、米，是極具個人風格的書法作品。(20101015)&* Zhu Dunru (style name Xizhen, sobriquet Yanhe) was a native of Luoyang also known at the time as “Luochuan xiansheng.” Excelling at poetry and ballads, his style was beautifully pure and fluid. He also achieved fame in calligraphy during the Southern Song, with Zhu Xi later in the dynasty praising his small regular script as “exquisitely wonderful and archaicly mellow” as well as “pursuing Yuanchang (Zhong You).” Zhao Mengfu in the Yuan dynasty likewise wrote, “The calligraphy slants to the point of being upside-down, much like the manner of Yang Shaoshi (Ningshi).” This letter in semi-cursive script was written sometime in 1138 or 1139, expressing Zhu Dunru’s desire to borrow for viewing a work of calligraphy by Li Xitai (Jianzhong) entitled “Dream Visions Day and Night” from a friend’s collection. It therefore testifies to the influence of Li Jianzhong’s classical style of calligraphy at the time. In terms of character structure, the flat and horizontal forms derive from the manner of Zhong You, while the indulgent brush method is similar to that of Yang Ningshi. The slanting quality is likewise similar to those of Su Shi, Huang Tingjian, and Mi Fu, making this a work by Zhu in a highly personal style.(20101015)
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- 國立故宮博物院
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