宋諸名家墨寶 冊 宋范成大書尺牘
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- 資料識別：
- 故書000239N000000018
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 范成大
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 31.9x51.3公分、全幅 40.5x70.7 公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁461-464 &*故宮書畫錄（卷三），第一冊，頁160-164 &*故宮歷代法書全集，第十一冊，頁118-157、202-208 &*范成大（西元1126-1193年），字致能，號石湖居士，吳縣人。紹興二十四年（1154）進士，歷官禮部員外郎、資政殿大學士、參知政事。他是南宋傑出的詩人，書法也頗有成就。 這是一封回覆友人的信札，報告自己及親人的近況，並提到還未能完成請託之事。運筆有流暢生動的特色，筆畫圓轉向左出鋒或牽絲都在率意中又保持含蓄。本幅選自「宋諸名家墨寶」冊。&*Fan Ch'eng-ta, a native of Wu-hsien(Soochow), received his chin-shih civil service degree in 1154 and served in several positions at court. He was famous for his literary arts and excelled at poetry. In running script, he followed the styles of Huang T'ing-chien and Mi Fu, but was more unrestrained. The recipient of this letter was a friend of Fan Ch'eng-ta. Fan wrote about himself and his family of late. He also mentioned that he had not yet been able to finish the task asked of him. The brushwork is marked by an animated and flowing quality. The round brushwork sometimes reveals strand-like traces of the brush tip, suggesting a sense of ease within restraint. This is a leaf from "Album of Ink Treasures by Various Sung Masters."&*范成大(1126-1193) 南宋詩人、書法家。自致能，號石湖居士，吳郡(治今江蘇蘇州)人。晚居故鄉石湖。紹興進士，歷任處州知府，知靜江府兼廣南西道安撫使，四川制置使，官至參知政事。卒諡文穆，追封崇國公。素有文名。書宗黃庭堅、米芾，逎勁爽利。明代王世貞評其「書法出入眉山、豫章間，有米顛筆，圓熟逎麗，生意鬱然」。詩多描寫農村風光和民生疾苦。著有《石湖居士詩集》、《石湖詞》、《桂海虞衡志》、《吳船錄》等。&*范成大，字至能，自號「石湖居士」，吳縣（今蘇州）人。文學成就傑出，為南宋詩人代表，尤以「田園詩」著稱。 書法上，范成大為「南宋四家」之一，除承繼外曾祖蔡襄之家學，也受北宋與晉唐五代諸家影響，「筆勁體遒」且自成一格。此帖是紹熙二年（1191）范成大歸居石湖時，寫予仕宦外地的表親，小字草書運筆流暢生動，筆畫圓轉，率意中又保持含蓄，字畫間輕重遲速多翻轉變化，為其晚年之作。(20101015)&* Fan Chengda (style name Zhineng, self-styled sobriquet Shihu jushi [Stone Lake Layman]) was a native of Wuxian (modern Suzhou). Outstanding in terms of literary achievement, he is a representative Southern Song poet especially renowned for his “pastoral poetry.” In terms of calligraphy, Fan Chengda was one of the “Four Southern Song Masters.” Besides following in the family style of his great-grandfather, the famous calligrapher Cai Xiang, Fan also came under the influence of masters from the Northern Song as well as Jin, Tang, and Five Dynasties periods in the past. With his “powerful brush and vigorous forms,” he formed a style of his own. This work done in 1191 comes from the period after his return to Stone Lake. Written to an official living elsewhere who was a maternal relative, the small-character cursive script here features fluid and lively applications of the brush. The rounded strokes turn about, a sense of introspection also preserved in the straightforward manner. Numerous changes to the lightness and speed of the strokes appear as they twist about in this work from Fan’s later years.(20101015)&*1.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379。
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