石渠寶笈續編(乾清宮),第一冊,頁445 &*故宮書畫錄(卷三),第一冊,頁180 &*1.何傳馨,〈范成大書尺牘〉,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249-250。 2.何傳馨,〈「七十件書畫冊頁名品特展」精選(三) — 范成大尺牘〉,《故宮文物月刊》,第148期(1995年7月),頁62-64。 &*范成大(西元一一二六-一一九三年),字致能,號石湖居士,吳縣人。紹興二十四年(一一五四)進士,歷官禮部員外郎、資政殿大學士、參知政事。素有文名,尤工詩,行書師法黃庭堅與米芾,更加縱肆。 此札草書,受信人不詳,內有「僕作志,乃是吾儕在湖蜀時」之語,按范成大於淳熙二年至四年(一一七五-一一七七年)知成都,此札應是歸吳後所書,結體緊密,運筆圓熟含蓄,與行書之縱放異趣。 本幅選自「宋人法書冊三」第十九幅。 &*Fan Ch'eng-ta(style name Chih-neng; sobriquet Shih-hu chu-shih) was a native of Wu-hsien. Receiving his chin-shih civil service degree in 1154, he went on to serve as Vice-director of the Ministry of Rites, Grand Academician in the Tz'u-cheng Hall, and Participant in Determining Government Matters. Fan was famous for his literary arts, excelling at poetry. In running script calligraphy, he followed the styles of Huang T'ing-chien(1045-1105) and Mi Fu (1052-1107), but was more unrestrained. The recipient of this letter in grass script is unknown, but a passage in the text refers to Shu, another name for Szechuan. From 1175 to 1177, Fan Ch'eng-ta served as precfect of Ch'eng-tu, Szechuan, so this letter was probably written sometime after he returned home to Wu-hsien. The characters are dense and the use of brush mature and reserved, differing from the unbridled quality of running script. This is the nineteenth leaf from the album Sung-jen fa-shu III. &*范成大(西元一一二六-一一九三年),字致能,號石湖居士,吳縣人。紹興二十四年(一一五四)進士,歷官禮部員外郎、資政殿大學士、參知政事。素有文名,尤工詩,行書師法黃庭堅與米芾,更加縱肆。 此札草書,受信人不詳,內有「僕作志,乃是吾儕在湖蜀時」之語,按范成大於淳熙二年至四年(一一七五-一一七七年)知成都,此札應是歸吳後所書,結體緊密,運筆圓熟含蓄,與行書之縱放異趣。 本幅選自「宋人法書冊三」第十九幅。(20100406)&* Fan Chengda (style name Zhineng; sobriquet Shihu jushi) was a native of Wuxian. A Presented Scholar (jinshi) of 1154, he served as Vice Minister of Rites, Grand Academician of Zizheng Hall, and Grand Councilor, famed for his literary arts and especially poetry. In running script, he followed Huang Tingjian and Mi Fu’s style, but was more unrestrained. The recipient of this letter in cursive script is unknown, but Fan mentions being in Sichuan. Fan was Administrator of Chengdu in Sichuan from 1175 to 1177, so it was probably done after returning to Wuxian. The characters are dense and brushwork skillfully round and reserved, differing from his bounding running script. This is the 19th leaf in “Album III of Song Calligraphy.”(20100406)