唐吳彩鸞書唐韻 冊
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- 資料識別：
- 故書000143N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 吳彩鸞
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 27.1x44.5公分、前副葉 41.8x103.1公分、全幅 41.8x103.1公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁821&*故宮書畫錄（卷三），第一冊，頁5&*吳彩鸞（西元九世紀）傳云：「自謂西山吳真君之女，太和末遇書生文簫，約與俱歸。簫貧不自給，彩鸞日書孫愐唐韻一編，鬻以度日。如是十載，後往吳越王山，各跨一虎仙去。」 其書法結字遒麗，筆畫雖小，而寬綽有餘。 小楷書唐韻。據後副葉項元汴題跋。稱書者為女仙吳彩鸞。彩鸞自稱吳真君之女。太和年（公元八二七至八三五）中。得遇進士文簫。偕返西山自宅。并告以己為仙子。天庭以其洩露機密。罰為民妻一紀。遂與文簫雙入人世間。家貧。為餬口計。彩鸞乃書寫小楷唐韻出售。每部市五千錢。錢罄復書。一日間。能寫十數萬字。非人力可為。其後。二人相偕各乘一虎仙去。此事雖迹近神誕。然此冊書法。字體豐腴寬綽。確為唐代流行之寫經書體。&*According to the colophon at the end of this caligraphy, the writer was the" immortal" Wu Ts'ai-luan. Wu Ts'ai-luan was said to be the daughter of Wu Jen-chün. The story goes that in the period 727-835 she met the chin-shih scholar Wen Hsiao and lived together with him on the Western Mountains. She declared that she was an immortal who had revealed the mysteries of heaven and was being punished by living for a hundred years as an ordinary woman. Wen Hsiao was himself very poor; to support them Wu Ts'ai-luan used to write in small standard calligraphy a copy of the T'ang-yün. Wen Hsiao used to sell each copy for five thousand cash. Wu Ts'ai-luan would write another copy when the money was finished. Each day she could write over a hundred thousand characters, certainly a feat beyond mortal accomplishment. At the end of their lives, both ascended into heaven seated on a tiger. This story savours of ben trovato yet the rich and broad sleekness of the calligraphy is without doubt that of the T'ang dynasty.&*1.侯怡利，〈唐吳彩鸞書唐韻〉，收入何傳馨、何炎泉、陳韻如編，《晉唐法書名蹟》（臺北：國立故宮博物院，2008年初版），頁231-235。 2.侯怡利，〈希世之寶 — 世傳女仙吳彩鸞〈書唐韻〉析論〉，《故宮文物月刊》，第307期（2008年10月），頁70-77。 &*唐文宗時「女仙」吳彩鸞（活動於九世紀），相傳以抄寫韻書營生，因書法寬綽有餘別具風格，為歷代藏家所重。因此存世唐抄本韻書多託名於吳彩鸞。本冊〈唐韻〉，是匯集唐代各本韻書而成，曾入宣和內府收藏。經研究復原，本冊舊有裝幀為傳世罕見的「龍鱗裝」，在古籍裝幀由「卷」而「冊」的演進上至為重要。書法上，流露唐代楷書工整精妙，結字寬舒與筆畫厚實，當是晚唐五代抄書之代表作品。(20081012)&*In the reign of the T’ang emperor Wen-tsung (r. 826-840), the “female immortal” Wu Ts’ai-luan is said to have transcribed rhymes as a way to make a living. With great expansiveness making for a unique style of calligraphy, her writings have been prized by collectors through the ages, so many T’ang transcriptions of rhymes have been attributed to her name. This album is a collection of various T’ang rhymes once in the Hsüan-ho court collection of the Sung emperor Hui-tsung (r. 1100-1125). Following research and reconstruction, this work has been determined to have originally been in the rare “dragon-scale mounting,” an important transition between the handscroll and album formats. In terms of calligraphy, this piece reveals the precise and meticulous regular script of the T’ang dynasty, the characters being spacious and the brushstrokes solid. Thus, it is representative of transcription calligraphy from the late T’ang and early Five Dynasties period in the ninth century. (20081012)
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
