宋薛紹彭雜書 卷
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- 資料識別：
- 故書000075N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 薛紹彭
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 27.3x304.5公分、隔水一 10公分、引首 27.3x128.5公分、隔水二 10公分、隔水三 10.1公分、拖尾 27.3x277.8公分
- 語言：
- 漢文
- 關聯：
- 故宮書畫錄（卷一），第一冊，頁64 &*石渠寶笈三編（延春閣），第三冊，頁1454 &*薛紹彭（活動於西元十一世紀後半），長安人。字道祖，號翠微居士，系出河東（山西）薛氏。唐初，薛氏以文學著稱，時有河東三鳳之譽，故亦自稱三鳳後裔。精於鑑賞，又長書法。書學二王，深得晉人遺規，書史謂其書如王謝家子弟，有風流之習。 本幅書詩文尺牘四段，行筆以拙藏巧，平直蒼勁。筆多內擫，鋒藏不露，古意時溢毫素間。&*Hsueh Shao-'eng, a native of Ch'ang-an in Shensi province, was an avid collector. He was a friend of the calligrapher-collector Mi Fu and Liu Ching. In his own calligraphy, he studied the styles of the Two Wangs and gained an understanding of the essence of the Chin style. According to calligraphy historians, he developed a distinguished style similar to that of the Two Wangs and Hsieh An. This handscroll of miscellaneous poems, essays, and letters is divided into four parts. The brushwork reveals a degree of technical virtuosity concealed within the intentional awkwardness. The strokes possess a tensile, inner strength, and the internal movements of the brush tip are concealed. This simplicity results in an archaic manner.&*1.王耀庭，〈薛紹彭雜書〉，收入林柏亭主編，《大觀- 北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁411- 414。 2.王耀庭，〈薛紹彭雜書卷 — 北宋的王羲之守護者〉，《故宮文物月刊》，第283期（2006年10月），頁4-13。 &*薛紹彭（約1051-1107或1109）長安人，字道祖，號翠微居士。薛氏於北宋晚期，獨致力對王羲之的晉人書風，書史上南宋高宗對他推崇有加，間接影響到元代書法的復古風氣。本卷為〈雲頂山詩〉、〈上清帖〉、〈左緜帖〉、〈通泉帖〉等四帖合裱成卷，從詩文內容，其完成地點，推測應書於服官四川之時。書寫並非同時，故書風不全然一致，但整體寫來中規中矩，字?行間但見一股溫雅的意味。(20061206)&*Hsüeh Shao-p'eng, a native of Ch'ang-an, went by the style name Tao-tsu and the sobriquet Ts'ui-wei chü-shih. In the late Northern Sung, Hsüeh singly devoted himself to the Chin style of calligraphy of Wang Hsi-chih. Along with the praise heaped upon him in a history of calligraphy by the Southern Sung emperor Kao-tsung, his style came to have an indirect influence on the atmosphere of revivalism in calligraphy of the Yuan dynasty. This scroll includes four works entitled “Poetry on Yün-ting Mountain”, “Shang-ch’ing”, “Tso-mien”, and “T'ung-ch'üan” mounted together into a single handscroll. Judging from the contents of the poetry and the place where it was completed, it was probably done when he was serving as an official in Szechwan. Since the calligraphy in the works was not done all at the same time, the style is not always very consistent. However, in general, the calligraphy was done in a quite systematic and regulated manner, with a soft elegance appearing among the characters and lines.(20061206)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
