明董其昌書呂仙詩 卷
Poem on the immortal Lu
法書
西鄰已富憂不足。東老雖貧樂有餘。白酒釀成因好客。黃金散盡為收書。此為呂祖詩。以樺皮書東老壁者。拓本流傳人間。頗類醉素。老杜飲中八仙有張長史。長史顛。懷素醉。皆神仙中人也。當素師豁然大悟時。與呂祖見鍾離後境界何別。其昌書。
| 文物統一編號 | 故書000043N000000000 |
| 作品號 | 故書00004300000 |
| 品名 |
明董其昌書呂仙詩 卷 Poem on the immortal Lu |
| 分類 | 法書 |
| 作者 | 董其昌 |
| 書體 | 行書 |
| 數量 | 一卷 |
| 作品語文 | 漢文 |
| 釋文 | 西鄰已富憂不足。東老雖貧樂有餘。白酒釀成因好客。黃金散盡為收書。此為呂祖詩。以樺皮書東老壁者。拓本流傳人間。頗類醉素。老杜飲中八仙有張長史。長史顛。懷素醉。皆神仙中人也。當素師豁然大悟時。與呂祖見鍾離後境界何別。其昌書。 |
| 位置 | 尺寸(公分) |
|---|---|
| 隔水一 | 10.3 |
| 隔水二 | 10.3 |
| 本幅 | 24.7x293.1 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 作者印記 | 董其昌 | 玄賞齋 |
| 作者印記 | 董其昌 | 董氏玄宰 |
| 作者印記 | 董其昌 | 董其昌印 |
| 鑑藏寶璽 | 清內府印 | 三希堂精鑑璽 |
| 鑑藏寶璽 | 清內府印 | 石渠寶笈 |
| 鑑藏寶璽 | 清內府印 | 宜子孫 |
| 鑑藏寶璽 | 清仁宗 | 嘉慶御覽之寶 |
| 鑑藏寶璽 | 清仁宗 | 嘉慶鑑賞 |
| 鑑藏寶璽 | 清仁宗 | 寶笈三編 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 董其昌（西元一五五五－一六三六年），字玄宰，號思白，江蘇華亭人。萬曆十七年（一五八九）進士，官至禮部尚書，諡文敏。天才雋逸，善書畫，富收藏，尤精鑑賞。臨摹書蹟，至忘寢食。行楷之妙，稱絕一代。 本卷未署年，以懷素大草風格書寫，由董氏其它懷素風格作品觀之，此卷當為其晚年之作。蓋其行筆較早年行草詩卷之輕靈，與中歲杜律冊之圓渾，更多些沉著及轉折變化，已將懷素自然地融於本色之中。 |
| 內容簡介 | 董其昌（西元一五五五－一六三六年）， 字玄宰，號思白，江蘇華亭人。萬曆十七 年（一五八九）進士，官至禮部尚書，諡 文敏。天才雋逸，善書畫，富收藏，尤精 鑑賞。行楷之妙，稱絕一代。 本卷未署年，以懷素大草風格書寫，由 董氏其它懷素風格作品觀之，此卷當為其 晚年之作。蓋其行筆較早年行草詩卷之輕 靈，與中歲杜律冊之圓渾，更多些沉著及 轉折變化，已將懷素自然地融於本色之中。 (20110710) |
| Description | Dong Qichang, a native of Huating, Jiangsu, received his Presented Scholar (jinshi) degree in 1589, later becoming Minister of Rites. An exceptionally talented painter and calligrapher, he was also a collector and connoisseur of art. He copied calligraphy to the point of forgetting to eat and sleep, his semi-cursive and regular scripts being considered the best of his time. This undated work is modeled after the large cursive script of Huaisu. Compared with Dong’s other works in Huaisu’s style, this is from his late period. Here his style is steadier with more turns and variations, differing from the light semi-cursive strokes in his earlier works and from the roundness of his middle years. Here, Dong naturally blended his own style with that of Huaisu’s.(20110710) |
| Description | Tung Ch’i-ch’ang (1555-1636) was a native of Hua-t’ing, Kiangsu province. His style name was Hsuan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time. This undated handscroll is modelled after the large-cursive script style of Huai-su. Compared with Tung’s other works which are written in Huai-su’s style, this piece seems to be a work of Tung’s late period. Here his style is calmer and steadier and exhibits more twists and variations. This is distinguished from the lightness of his semi-cursive strokes in an early period scroll of semi-cursive and cursive script poems, and from the roundness characteristic of his style in an album of poems by Tu Fu written in Tung’s middle years. At the time this handscroll was written, Tung had already naturally blended Huai-su’s style with his own. |
| 收藏著錄 | 石渠寶笈三編（延春閣），第五冊，頁2062 |
| 收藏著錄 | 故宮書畫錄（卷一），第一冊，頁138-139 |
| 參考書目 | 〈明董其昌書呂仙詩 卷〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁248-253、396。 |
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