清王文治行書　軸

Running Script

法書

泉自奔忙月自遲。此中情味幾人知。閒來扶箇青藜杖。又到鄰翁夜話時。雪後錄近作。七十二叟王文治。

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基本資料典藏尺寸質地印記資料參考資料保存維護

文物統一編號	購書000945N000000000
作品號	購書00094500000
品名	清王文治行書　軸 Running Script
分類	法書
作者	王文治,Wang Wenzhi
書體	行草書
數量	一軸
作品語文	漢文
釋文	泉自奔忙月自遲。此中情味幾人知。閒來扶箇青藜杖。又到鄰翁夜話時。雪後錄近作。七十二叟王文治。

位置	尺寸(公分)
本幅	13x41.7

質地位置	質地
本幅	紙

印記類別	印主	印記
收傳印記		雷悅所藏
作者印記	王文治	王文治印
作者印記	王文治	柿葉山房
作者印記	王文治	曾經滄海

類別	參考資料
內容簡介	王文治（西元一七三○－一八○二年），字禹卿，號夢樓，丹徒（江蘇鎮江）人。乾隆十三年（一七四八）探花，官至雲南臨安知府，罷歸。少負奇志，詩歌和書法聞名於當時。書學米芾、董其昌、後法二王，得力李北海。喜用淡墨，時稱「淡墨探花」，與喜用濃墨的「濃墨宰相」劉墉成對比。全作用筆灑脫，轉折勁利，筆畫瘦勁爽朗，故顯風神蕭散，一洗當時帖學的流媚輕滑。(20120104)
Description	Wang Wenzhi (style name Yuqing, sobriquet Menglou), native to Dantu (Zhenjiang, Jiangsu), was a Third Graduate in 1748 and served to Prefect of Lin’an in Yunnan before being relieved of office. In youth he held lofty ambitions, his poetry and songs with calligraphy renowned then. In calligraphy he studied Mi Fu and Dong Qichang’s style, later turning to the Two Wangs and benefiting from Li Yong’s style. He often used light ink and hence was known as “Third Graduate of Light Ink,” in contrast to Liu Yong, who was “Minister of Dark Ink.” The brushwork here is free and easy, the turns strong and sharp. The strokes are thin yet powerful for a clear, straightforward manner. Its verve is unlike the contemporary outward beauty of modelbook studies.(20120104)

類別

參考資料

內容簡介

王文治（西元一七三○－一八○二年），字禹卿，號夢樓，丹徒（江蘇鎮江）人。乾隆十三年（一七四八）探花，官至雲南臨安知府，罷歸。少負奇志，詩歌和書法聞名於當時。書學米芾、董其昌、後法二王，得力李北海。喜用淡墨，時稱「淡墨探花」，與喜用濃墨的「濃墨宰相」劉墉成對比。全作用筆灑脫，轉折勁利，筆畫瘦勁爽朗，故顯風神蕭散，一洗當時帖學的流媚輕滑。(20120104)

Description

Wang Wenzhi (style name Yuqing, sobriquet Menglou), native to Dantu (Zhenjiang, Jiangsu), was a Third Graduate in 1748 and served to Prefect of Lin’an in Yunnan before being relieved of office. In youth he held lofty ambitions, his poetry and songs with calligraphy renowned then. In calligraphy he studied Mi Fu and Dong Qichang’s style, later turning to the Two Wangs and benefiting from Li Yong’s style. He often used light ink and hence was known as “Third Graduate of Light Ink,” in contrast to Liu Yong, who was “Minister of Dark Ink.” The brushwork here is free and easy, the turns strong and sharp. The strokes are thin yet powerful for a clear, straightforward manner. Its verve is unlike the contemporary outward beauty of modelbook studies.(20120104)

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