元人雜書 卷 饒介書中峰幻住像偈
In Praise of a Portrait of Zhongfeng
法書
晴松落。（闕一字）。疎如雨。南風吹綠春天樹。樹前開徧菡 萏華。池上露涼渾欲語。道人觀化無方所。塵世茫茫廣歧路。笑看草木歲時香。俱逐游塵何處去。尋華摘葉情如許。公子歸來與師遇。蕭蕭茆屋畫為圖。是故標師之出處。紅衣落盡蓮滿房。碧藕留絲終幻住。至正廿五年乙巳。十月一日。過幻住出此卷。乃知中峰與松雪一合相耳。雖然。峰亦留此戲後人也。住幻居幻。又造境幻。又使人畫像幻。今日復使我作幻語。峰願力耶。抑遣下則劇耶。當問菴主人。華蓋峰浮丘先生童子紫玄洞樵饒介信手識之。
| 文物統一編號 | 故書000134N000000000 |
| 作品號 | 故書00013400006 |
| 品名 |
元人雜書 卷 饒介書中峰幻住像偈 In Praise of a Portrait of Zhongfeng |
| 分類 | 法書 |
| 作者 | 饒介,Rao Jie |
| 書體 | 行書 |
| 創作時間 | 元順帝至正廿五年（1365） |
| 數量 | 一幅 |
| 作品語文 | 漢文 |
| 釋文 | 晴松落。（闕一字）。疎如雨。南風吹綠春天樹。樹前開徧菡 萏華。池上露涼渾欲語。道人觀化無方所。塵世茫茫廣歧路。笑看草木歲時香。俱逐游塵何處去。尋華摘葉情如許。公子歸來與師遇。蕭蕭茆屋畫為圖。是故標師之出處。紅衣落盡蓮滿房。碧藕留絲終幻住。至正廿五年乙巳。十月一日。過幻住出此卷。乃知中峰與松雪一合相耳。雖然。峰亦留此戲後人也。住幻居幻。又造境幻。又使人畫像幻。今日復使我作幻語。峰願力耶。抑遣下則劇耶。當問菴主人。華蓋峰浮丘先生童子紫玄洞樵饒介信手識之。 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 26.3x109.5 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 收傳印記 | □賞 | |
| 收傳印記 | 項元汴 | 子京所藏 |
| 收傳印記 | 項元汴 | 子孫永保 |
| 收傳印記 | 項元汴 | 天籟閣 |
| 收傳印記 | 項元汴 | 平生真賞 |
| 收傳印記 | 項元汴 | 退密 |
| 收傳印記 | 項元汴 | 寄傲 |
| 收傳印記 | 項元汴 | 項子京家珍藏 |
| 收傳印記 | 項元汴 | 項元汴印 |
| 收傳印記 | 項元汴 | 項墨林鑑賞章 |
| 收傳印記 | 項元汴 | 墨林半印 |
| 收傳印記 | 項元汴 | 檇李 |
| 鑑藏寶璽 | 清內府印 | 三希堂精鑑璽 |
| 鑑藏寶璽 | 清內府印 | 宜子孫 |
| 鑑藏寶璽 | 清仁宗 | 嘉慶鑑賞 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 饒介（？－西元一三六七年），江西臨川人，字介之，號華蓋山樵、醉樵、浮丘公童子。倜儻豪放，能詩工書。自翰林應奉僉江浙廉訪司事，張士誠據吳，慕其名，召以為淮南行省參知政事，家采蓮涇上，日以觴詠為事。士誠敗，俘至京師，死之。饒介書遠師懷素與王獻之，近宗康里巙巙，史稱介草書飄逸，又謂其書圓勁暢朗，神追大令。本幅行書中峰明本像偈，作於至正廿五年（西元一三六五年），為晚年精品。書風疏朗秀逸，章草筆法雖不多，然輕靈自然，有畫龍點睛之妙。 本幅為元人雜書卷第六幅。 |
| 內容簡介 | 饒介（？－西元一三六七年），字介之，江西臨川人。倜儻豪放，能詩工書。元末張士誠（西元一三二一－一三六七年）據吳，召為淮南行省參知政事，士誠敗，俘至京師，被誅。饒介書法遠師王獻之與懷素，近宗康里子山，史稱其草書飄逸，圓勁暢朗。本幅為和尚中峰明本（西元一二六一－一三二三年）像題跋，作於至正廿五年（一三六五），行草中間雜章草筆法，於秀逸中增添古樸之氣。 (20121017) |
| Description | Rao Jie (style name Jiezhi) was a native of Linchuan, Jiangxi. Bold and individual in manner, he was gifted at both poetry and calligraphy. When the late Yuan rebel Zhang Shicheng (1321-1367) captured Wu, Rao was summoned as Assistant Administrator of Huainan Branch Secretariat. After Zhang was defeated, Rao was captured, sent to the capital, and executed. Rao’s calligraphy traces to Wang Xianzhi and Huaisu as well as to Kangli Nao. He is praised for his untrammeled cursive script, with rounded power and flowing ease. This is an inscription composed in 1365 for a portrait of the famous monk Zhongfeng Mingben (1261-1323). The semi-cursive script conceals traces of draft cursive, giving archaic simplicity to the untrammeled elegance. (20121017) |
| Description | Jao Chieh (style name Chieh-chih and sobriquets Hua-kai shan-chiao, Tsui-chiao, and Fu-ch'iu-kung t'ung-tzu) was a native of Lin-ch'uan, Kiangsi. Elegant and untrammelled by nature, he was a gifted calligrapher. In the last years of the Yuan dynasty, he served as Hanlin Academician and Surveillance Commissioner of the Chiang-Che Circuit. When Chang Shih-ch'eng took control of the region, he came to admire Jao's reputation and requested him to serve as Branch Secretariat and Magistrate of Huai-nan. Jao Chieh's style was loosely patterned after those of Huai-su (725-785) and Wang Hsien-chih (344-386), but he more closely followed that of K'ang-li Nao-nao (1295-1345). The traditional assessment of his cursive script is that it is free and casual, while his style appears rounded, taut, and flowing in a grand and spirited manner. This work in running script was done in praise of a portrait of the Zen master Chung-feng Ming-pen and was calligraphed in 1365, making it a late work of the artist. The characters flow across the surface in a light, natural and elegant manner. Although not many elements of the cursive style are found in this work, it nonetheless has a spirited touch. This is the sixth work from the handscroll "Assorted Calligraphy by Yuan Masters." |
| 參考書目 | 1.朱惠良，〈元饒介書中峰幻住像偈〉，收入《雲間書派特展圖錄》（臺北：國立故宮博物院，1994年初版），頁133。 |
| 收藏著錄 | 石渠寶笈三編（延春閣），第六冊，頁2698 |
| 收藏著錄 | 故宮書畫錄（卷一），第一冊，頁148 |
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