元鮮于樞書透光古鏡歌 冊
Song on an Ancient Light-Transmitting Mirror
法書
麻徵君透光古鏡歌。太陰淪魄元不耀。太陽分火成二曜。嗚呼怪銅盜此幻。倒景在壁與背肖。開奩㸌㸌光走庭。劃如剸犀乍脫鞘。泓澄秋落百丈潭。疑有龍向天門跳。秦娃漢婉化鴛土。寵雨恩雲狸鳳詔。生前椒塗鑑桃李。身後泉臺暎蓬藋。一坏百鏡照不迴。隊中剛作千年調。髑髏一醜不再妍。不知持此將安照。萬斛珠璣委俑人。喚得愉兒為鬼勡。借問金槌一控時。何如海上青蠅吊。壽如金石佳且好。此銘此篆多奇峭。今誰子後曩誰先。嬴得紐樞經蟻竅。
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作品號 | 故書00016200000 |
品名 |
元鮮于樞書透光古鏡歌 冊 Song on an Ancient Light-Transmitting Mirror |
分類 | 法書 |
作者 | 鮮于樞,Xianyu Shu |
書體 | 楷書 |
數量 | 一冊:十五開(本幅十五開三十幅) |
作品語文 | 漢文 |
釋文 | 麻徵君透光古鏡歌。太陰淪魄元不耀。太陽分火成二曜。嗚呼怪銅盜此幻。倒景在壁與背肖。開奩㸌㸌光走庭。劃如剸犀乍脫鞘。泓澄秋落百丈潭。疑有龍向天門跳。秦娃漢婉化鴛土。寵雨恩雲狸鳳詔。生前椒塗鑑桃李。身後泉臺暎蓬藋。一坏百鏡照不迴。隊中剛作千年調。髑髏一醜不再妍。不知持此將安照。萬斛珠璣委俑人。喚得愉兒為鬼勡。借問金槌一控時。何如海上青蠅吊。壽如金石佳且好。此銘此篆多奇峭。今誰子後曩誰先。嬴得紐樞經蟻竅。 |
位置 | 尺寸(公分) |
---|---|
本幅 | 30.5x19.8 |
質地位置 | 質地 |
---|---|
本幅 | 紙 |
印記類別 | 印主 | 印記 |
---|---|---|
收傳印記 | 梁清標 | 恆山梁清標玉立氏圖書 |
收傳印記 | 梁清標 | 蕉林鑒定 |
作者印記 | 鮮于樞 | 困學齋 |
作者印記 | 鮮于樞 | 漁陽 |
作者印記 | 鮮于樞 | 德日生 |
作者印記 | 鮮于樞 | 鮮于 |
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 | 宣統帝 | 宣統御覽之寶 |
鑑藏寶璽 | 宣統帝 | 宣統鑑賞 |
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 | 鮮于樞(1246-1302)字伯機,號困學民。書法以圓勁著稱,提倡「復古」與趙孟頫並稱「二妙」,為元代重要書家。雅好書畫金石鑑藏,據載鮮于氏曾收有「透光鏡」,此鏡在折射的影子中會出現鏡背的花紋,或因擁有此稀世之珍,而以大字行楷書寫金人麻九疇〈賦伯玉透光鏡〉詩。此冊結字端正,兼取〈瘞鶴銘〉等南朝碑刻與唐代楷書之長,體勢開張,多以中鋒行筆,筆力遒勁,為鮮于氏傳世代表作之一。(20110913) |
內容簡介 | 鮮于樞(西元一二五六-一三0一年),漁陽(今河北薊縣)人。字伯機,號困學民,居杭州,官至太常寺典簿。精鑑定法書、名畫及古器物,吟詩作字,奇態橫生,善行草,趙孟頫極推重之,小楷類鍾繇,早歲學書,愧未能如古人,偶適野見二人輓車行淖泥中,遂悟書法。鮮于樞對草書最為擅長,趙孟頫自歎弗如,在元初其書名顯赫,與趙孟頫並稱兩大巨擘,終元之世,多出入此二家,元末明初,有邊武繼承其學。本幅以練達楷書書之,圓活遒勁,堪稱佳作。 |
Description | Hsien-yu Shu (style name Po-chi, sobriquet k'un-hsueh-shih) was a native of Chi county in Hopei but lived in Hangchou. He held an official position as archivist in the Court of Imperial Sacrifices. He was skilled in authenticating calligraphy, paintings, and ancient objects, and accomplished in writing poetry and calligraphy. He excelled in running-cursive calligraphy, and Chao Meng-fu often praised him. He also studied the style of Chung Yu for standard script. In his youth, he felt remorseful, thinking that he would never attain the level of the ancients. Once when he happened to see the movements of two people carrying a sedan chair through the mud, he all of a sudden understood the secrets of calligraphy. Hsien-yu Shu excelled particularly in cursive calligraphy, and Chao Meng-fu himself sighed that he was not Hsien-yu Shu's equal. During the early Yuan dynasty, he was a most distinguished and influential calligrapher along with Chao Meng-fu, and later calligraphers took their styles as models. Hsien-yu Shu has written this essay in standard calligraphy with round, strong brushstrokes. |
Description | Xianyu Shu (style name Boji, sobriquet Kunxuemin) was famous for his round and strong calligraphy. Promoting revivalism, he achieved fame equal to that of Zhao Mengfu, both being known as the “Two Marvels.” Xianyu, an important calligrapher of the Yuan, excelled at the connoisseurship of painting, calligraphy, and antiquities. In his collection is a record of a “light-transmitting mirror” that reflected light yet still revealed decoration on the back. Perhaps his ownership of this rare treasure led him to transcribe a poem by Ma Jiuchou of the Jin dynasty entitled, “Ode on Boyu’s Light-Transmitting Mirror.” The character structure in this album is upright, adopting the virtues of such Southern Dynasties engravings as the “Yihe Inscription” and regular script of the Tang dynasty. The powerful and expansive quality was mostly done with the movement of a centered brush. With vigor to the brush force, this is a surviving representative work by Xianyu Shu.(20110913) |
網頁展示說明 | 鮮于樞(1246-1302)字伯機,號困學民。書法以圓勁著稱,提倡「復古」與趙孟頫並稱「二妙」,為元代重要書家。雅好書畫金石鑑藏,據載鮮于氏曾收有「透光鏡」,此鏡在折射的影子中會出現鏡背的花紋,或因擁有此稀世之珍,而以大字行楷書寫金人麻九疇〈賦伯玉透光鏡〉詩。此冊結字端正,兼取〈瘞鶴銘〉等南朝碑刻與唐代楷書之長,體勢開張,多以中鋒行筆,筆力遒勁,為鮮于氏傳世代表作之一。 釋文:麻徵君透光古鏡歌。太陰淪魄元不耀。太陽分火成二曜。嗚呼怪銅盜此幻。景在壁與背肖。開奩 光走庭。劃如剸犀乍脫鞘。泓澄秋落百丈潭。疑有龍向天門跳。秦娃漢婉化鴛土。寵雨恩雲狸鳳詔。生前椒塗鑑桃李。身後泉臺映蓬藋。一坏百鏡照不迴。隊中剛作千年調。髑髏一醜不再妍。不知持此將安照。萬斛珠璣委俑人。喚得愉兒為鬼勡。借問金槌一控時。何如海上青蠅吊。壽如金石佳且好。此銘此篆多奇峭。今誰子後曩誰先。嬴得紐樞經蟻竅。 (20110913) |
參考書目 | 〈元鮮于樞書透光古鏡歌 冊〉,收入劉芳如主編《國寶再現-書畫菁華特展》(臺北:國立故宮博物院,2018.10),頁220-235、259。 |
收藏著錄 | 石渠寶笈三編(延春閣),第四冊,頁1585 |
收藏著錄 | 故宮書畫錄(卷三),第一冊,頁51 |
研究性論著 | 鮮于樞(1257--1302),原籍河北漁陽(今天津薊縣一帶),出生於開封,字伯幾,號困學民,又號西溪。當元世祖南下杭城不久(元至正十八年‧1281),鮮于樞即至杭州,與趙孟頫訂交,切磋書法。子昂贊譽他:「伯幾草書過余甚遠,極力追之,而不能及。」為元代初年一代書法大家,鮮于樞為人意象雄豪,帶有河朔氣,相貌雄偉,蓄美髯,博學又有才氣,工詩詞、通音律、涉獵宗教、精於茶道,富收藏,鑑賞,著有《困學齋集》、《困學齋雜錄》、《困學齋雜記》。 元蘇天爵《滋溪集》:「鮮于樞公早歲學書,愧未能如古人。偶適野,見二人挽車泥淖中,遂悟筆法。」「挽車泥淖」領悟到的是什麼﹖應該是力量的衝擊與運用。本幅原為整紙所書,因為改裝裱成冊,遂裁成條狀,再加拼貼,這猶如一般拓碑的蓑衣裱。字大幾近四寸,出筆雄健,以骨力勝,姿體豐偉,真所謂北方之雄者。詩出麻徵君(1183--1232),名九疇,字知幾,莫州人。三歲識字,七歲能草書,作大字有及數尺者,故所至有神童之目。章廟召見,問汝入宮殿中,亦懼怯否﹖對曰:「君臣父子也,子寧懼父耶﹖上大奇之。」此詩為郾城張伯玉所藏透光古鏡所賦。(王耀庭) |
參考書目 | 1.王競雄,〈鮮于樞透光古鏡歌〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁301-302。 2.王耀庭,〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯二 — 鮮于樞透光古鏡歌〉,《故宮文物月刊》,第186期(1998年9月),頁10-11。 3.王競雄,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元鮮于樞透光古鏡歌〉,《故宮文物月刊》,第225期(2001年12月),頁26-27。 4.王競雄,〈元鮮于樞透光古鏡歌〉,《故宮文物月刊》,第300期(2008年3月),頁14-15。 5.陳階晉,〈元鮮于樞書透光古鏡歌〉,收入蔡玫芬主編,《精彩一百 國寶總動員》(臺北:國立故宮博物院,2011年九月初版一刷),頁224。 |