明董其昌仿歐陽詢千文 冊
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- 資料識別：
- 故書000207N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 董其昌
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明思宗崇禎元年（1628）
- 格式：
- 本幅 22.2x12.7公分、全幅 30.9x35.6公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁831&*故宮書畫錄（卷三），第一冊，頁102-103&*故宮歷代法書全集，第二十四冊，頁106-131、145-146&*董其昌（1555－1636），字玄宰，華亭（今上海）人，官至禮部尚書，諡文敏。明代後期重要書、畫及鑑藏評論家，長於楷、行、草書。款雖言此冊臨自唐歐陽詢草書千字文，卻自書己意，似乎將臨書視為另一種創作方式。紙上鈐有「白雲院轉輪大藏經」朱印，界以方格，然書家不為所限，時有出格連筆之作。全作用筆精熟，頓挫使轉得宜，線條圓轉流暢，不失為草書佳作。&*Dong Qichang (style name Xuanzai) was a native of Huating (modern Shanghai) who rose to the post of Minister of Rites and was posthumously awarded the name Wenmin. He was a major calligrapher, painter, connoisseur, and theorist of the late Ming, specializing in regular, running, and cursive scripts. Although Dong’s inscription states that this album imitates the “Thousand Character Classic” by Ouyang Xun of the Tang dynasty, it is in his own style instead, almost as if he took the notion of copying as a kind of creative expression. The paper was impressed with a seal in red characters reading, “White Cloud Monastery Turning the Wheel of the Tripitaka.” Although divided into squares, the calligrapher was not confined by them, his brush sometimes exceeding the boundaries. However, the brushwork thoroughly adept, the turns in the brush being well executed. The lines are also rounded and fluid, making this a fine work of cursive script calligraphy.
- 管理權：
- 國立故宮博物院
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- 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
