宋張即之書李衎墓志銘 卷
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- 資料識別：
- 故書000077N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 張即之
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 29.3x604.5公分、隔水一 13.4公分、隔水二 13.3公分、拖尾 29.3x93.7 公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1511-1514 &*故宮書畫錄（卷一），第一冊，頁69-73 &*張即之（西元1186-1263年），歷陽烏江人（今安徽省和縣）。字溫夫，號樗寮。南宋末，以能書名聞天下，金人猶寶其翰墨。最喜作大字，作品流傳江左頗多。明人張寧曾評其大字「如寫小楷，而筆意兼行」，清人王文治考其書風源流，云：「人知張師海岳（米芾），而不知其出入歐（陽詢）褚（遂良）。」 本幅共一千二百餘字。銘文為李衎之友邵明仲所撰，而張亦李之好友，戮力投注之下，自屬難得之精心傑作。然點畫之際，筆力稍弱，疑為後世倣本。&*Chang Chi-chih (style name Wen-fu and sobriquet Shu-liao) was a native of Wu-chiang（modern Ho county, Anhwei）. At the end of the Southern Sung period (1127-1279), his achievement in calligraphy made him reknowned throughout the country. Even people of the Chin dynasty (1125-1233) in the north came to treasure his calligraphy. He was most fond of writing large characters, and many of them have been passed down in the Kiangsu area. Wang Wen-chih of the Ch'ing dynasty (1644-1911), tracing the source of Chang's calligraphic style, said "people are aware that Chang studied the style of Mii Fu (1051-1107), but they are not aware that he was influenced by Ou-yang Hsün (557-641) and Ch'u Sui-liang (596-658)". The epitaph consisting of over 1200 characters was composed by Shao Ming-chung, a friend of Li K'an. Since Chang Chi-chih was also a close friend of Li K'an, he wrote this epitaph with all-out effort. It is indeed a rare masterpiece; however, brushwork appears to be somewhat weak at places, betraying that this work might be a copy by a later hand.&* 張即之（西元一一八六－一二六三年），字溫夫，號樗寮，以書風獨特，結字雄勁古拙，用筆方圓兼備，輕重變化對比強烈，而為著名南宋書家。此卷為張氏於淳祐五年（一二四五）以楷書寫友人李衎之墓誌銘，全文共一千兩百餘字，內容與行列分布皆與日本藤井有鄰館所藏本相同，兩卷卷首均有項元汴千字文第八二六「御」字編號。此卷雖有項氏跋尾，唯全幅點畫之際，筆力稍弱，疑為後世倣本。&* Zhang Jizhi’s style of calligraphy was unique, featuring simple yet powerful characters with both rounded and angular strokes. This famed Southern Song calligrapher’s contrast between light and heavy is often dramatic. This scroll from 1245 in regular script is an inscription for the tomb epitaph of his friend, Li Kan (ca. 1245-1320). With more than 1,200 characters, the contents and distribution of the lines are the same as a version in Japan’s Fujii Yurinkan Museum. Moreover, the front of both bear the accession number “yu 御” from the “Thousand Character Classic” (the 826th character) used by Xiang Yuanbian. Though this work has a colophon by Xiang, the strokes and dots reveal slightly weaker brushwork, suggesting a later imitation.
- 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
