清翁同龢行書四屏 軸
Four Screens of Calligraphy in Running Script
法書
碧榆綠柳舊游中。華髮蒼顏未退翁。天使殘年司筆研。聖知小學是家風。長安又到人徒老。吾道何時定復東。題柱扁舟真老矣。竟無事業奏膚公。米書虹縣詩。所謂如快劍斫蒲葦者耶。臨奉容方吾兄同年大人一笑。弟翁同龢。
| 文物統一編號 |
贈書000231N000000000
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贈書000231N000000001
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| 作品號 | 贈書00023100000 |
| 品名 |
清翁同龢行書四屏 軸 Four Screens of Calligraphy in Running Script |
| 分類 | 法書 |
| 作者 | 翁同龢,Weng Tonghe |
| 書體 | 行書 |
| 數量 | 四屏 |
| 作品語文 | 漢文 |
| 釋文 | 碧榆綠柳舊游中。華髮蒼顏未退翁。天使殘年司筆研。聖知小學是家風。長安又到人徒老。吾道何時定復東。題柱扁舟真老矣。竟無事業奏膚公。米書虹縣詩。所謂如快劍斫蒲葦者耶。臨奉容方吾兄同年大人一笑。弟翁同龢。 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 165.8x47.5 |
| 全幅 | 201x54.8 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 題跋類別 | 作者 | 位置 | 款識 | 書體 | 全文 |
|---|---|---|---|---|---|
| 簽 | 包首 | 松禪行書六尺屏。一。神品。臨米書虹縣詩。 | |||
| 簽 | 包首 | 松禪行書六尺屏。二。神品。吹雪牋本。 | |||
| 簽 | 包首 | 松禪行書六尺屏。三。神品。己酉汪九自都寄致。 | |||
| 簽 | 包首 | 松禪行書六尺屏。四。神品。甲寅中秋在上海重裝。 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 收傳印記 | 譚澤闓 | 瓶齋祕篋 |
| 收傳印記 | 譚伯羽 | 習是齋藏天隨閣遺篋珍品 |
| 收傳印記 | 習齋臨過 | |
| 作者印記 | 翁同龢 | 叔平 |
| 作者印記 | 翁同龢 | 翁同龢印 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 翁同龢（一八三O—一九O四），字聲甫，號叔平、松禪老人，江蘇常熟人。咸豐六年進士，官至協辦大學士，曾經兩度入軍機兼總理各國事務大臣，為同治、光緒兩朝帝師，有詩文集流傳於世。 翁同龢書法兼習各家之長，對漢隸以及顏真卿書學體悟尤深。此件書屏錄寫顏真卿〈爭座位帖〉，氣息淳厚寬博，可許為代表作之一。 本幅為譚伯羽譚季甫先生昆仲捐贈。 |
| Description | Weng T'ung-ho, a native of Kiangsu, was from a family of scholars and enjoyed studying as a youth. He went on to become a chin-shih civil service candidate of 1856 and to serve as Assistant Grand Secretary and in other major court posts. He was so respected as a scholar that he became instructor for emperors in the T'ung-chih and Kuang-hsu eras. Though he fell afoul of court politics and was forced to retire, he was a loyal official who expressed concern at a time of increasing turmoil that marked the close of imperial China. In calligraphy, Weng T'ung-ho studied many manners and was especially gifted in Han dynasty (206 BC-AD 220) clerical script and the style of Yen Chen-ch’ing (709-785). He maintained a balanced approach to stele and modelbook styles of calligraphy. This work extending over four hanging scrolls is a transcription of Yen Chen-ch'ing's “Controversy over Seating Protocol”. Although differing from the original brushwork, the broad interpretation and bold brushwork still convey the spirit of Yen's manner. Thus, this is one of Weng's representative works in running script. |
| 收藏著錄 | 譚伯羽譚季甫先生昆仲捐贈文物目錄，頁90 |
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