宋四家真蹟 冊 宋米芾書論書
Discourse on Calligraphy
法書
草書若不入晉人格。輙徒成下品。張顛俗子。變亂古法。驚諸凡夫。自有識者。懷素少加平淡。稍到天成。而時代壓之。不能高古。高閑而下。但可懸之酒肆。𧦬光尤可憎惡也。
| 文物統一編號 | 故書000236N000000013 |
| 作品號 | 故書00023600007 |
| 品名 |
宋四家真蹟 冊 宋米芾書論書 Discourse on Calligraphy |
| 分類 | 法書 |
| 作者 | 米芾,Mi Fu |
| 書體 | 草書 |
| 數量 | 一幅 |
| 作品語文 | 漢文 |
| 釋文 | 草書若不入晉人格。輙徒成下品。張顛俗子。變亂古法。驚諸凡夫。自有識者。懷素少加平淡。稍到天成。而時代壓之。不能高古。高閑而下。但可懸之酒肆。𧦬光尤可憎惡也。 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 24.7x37 |
| 全幅 | 42.1x71.3 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 收傳印記 | 南宋官印 | 內府書印（半印） |
| 收傳印記 | 王鴻緒 | 王鴻緒印 |
| 收傳印記 | 陳定 | 陳定 |
| 收傳印記 | 沈勗禮 | 淛河沈氏勗禮彥敬敬齋圖書祕玩之印（重一。皆為半印） |
| 收傳印記 | 黃琳 | 琳印（半印） |
| 收傳印記 | 王鴻緒 | 儼齋秘玩 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 米芾（西元一○五一－一一○七年），字元章，湖北襄陽人。歷官校書郎、安徽無為軍知事。精於見賞，徽宗時詔為書畫學博士，得以遍觀內府秘藏。 本幅論草書一則，以晉人書風為最高標的，對唐代草書大家張旭、懷素、高閑及訾光均有微詞，為崇晉抑唐之論調，常見於米氏書論。本幅書風全宗二王，不涉唐人狂草一筆，可見其理論與實踐確實相輔相成。本幅選自「宋四家真蹟」冊。 |
| 內容簡介 | 米芾(一0五一- 一一0七), 湖北襄陽人. 字元章, 歷官校書郎、安徽無為軍知事. 由於他精於鑒賞, 徽宗朝初期詔為太常博士和書畫學博士, 得以遍觀內府所寶秘藏. 五十七歲卒於知淮陽軍任上. 本幅論草書一則, 以晉人書風為最高標的, 對唐代草書大家張旭、懷素、高閑及 光均有微詞, 此為崇晉抑唐之論調, 常見於米氏書論. 本幅書風則全宗二王, 不涉唐人狂草一筆, 足見米芾之理論與實踐確係相輔相成. 本幅選自「宋四家真蹟」冊. |
| 內容簡介 | 米芾（1052－1108），字元章，湖北襄陽人，歷官校書郎、安徽無為軍知事。精於鑑賞，徽宗時詔為書畫學博士，得以遍觀內府秘藏。此帖文字內容論及草書的品評，以晉人書風為最高標準，對唐代草書大家張旭、懷素、高閑等頗有微詞。類似的崇晉抑唐論調，也經常見諸於米芾的書論文字中。本幅全以晉人今草風格書寫，帶著平淡天真的古雅氣息，捨棄唐人狂草的筆法，在書風表現與文字內容上契合一致。(20061206) |
| 內容簡介 | 米芾（西元一○五一－一一○七年），字元章，湖北襄陽人。歷官校書郎、安徽無為軍知事。精於鑒賞，徽宗時詔為書畫學博士，得以遍觀內府秘藏。 本幅論草書一則，以晉人書風為最高標的，對唐代草書大家張旭、懷素、高閑及辯光均有微詞，為崇晉抑唐之論調，常見於米氏書論。本幅書風全宗二王，不涉唐人狂草一筆，以實踐印證其理論。本幅選自「宋四家真蹟」冊。 (20121017) |
| Description | Mi Fu (style name Yuanzhang) was a native of Xiangyang, Hubei. In office, he served as Editor and Administrative Clerk of Wuwei Command in Anhui. An excellent connoisseur, he was appointed Erudite of Painting and Calligraphy under Emperor Huizong, giving him access to the imperial collection. This work is a discourse on cursive script. Taking Jin dynasty cursive as the highest standard, Mi is critical of such Tang masters as Zhang Xu, Huaisu, Gaoxian, and Bianguang. A similar admiration for Jin over Tang cursive is often seen in Mi’s discourse on calligraphy. This work fully in the Jin manner of the Two Wangs without any Tang “wild cursive” shows that Mi “practiced what he preached.” It is from the album “Authentic Traces of the Four Song Masters.” (20121017) |
| Description | Mi Fu, style name Yuan-chang, was a native of Hsiang-yang in Hupeh. In office, he served in the posts of Editor and Administrative Clerk of the Wu-wei Command in Anhwei. An excellent connoisseur, he was appointed as Erudite of Painting and Calligraphy under Emperor Hui-tsung (r. 1101-1125), giving him the opportunity to peruse the imperial collection. This work is a discourse evaluating cursive script. Taking that of the Chin dynasty as the highest standard, the contents include a hint of criticism for the cursive script of such T'ang masters as Chang Hsu, Huai-su, and Kao-hsien. A similar tone of admiration for the Chin over the T'ang is also often seen in Mi Fu's discourses on calligraphy. This work is completely in the manner of Chin cursive script with a somewhat archaic elegance of purity and innocence. Forgoing the wild cursive manner of T'ang calligraphers, the style here accords well with the contents, showing that Mi Fu “practiced what he preached”.(20061206) |
| Description | Mi Fu, a native of Hupeh, served as an official in the Northern Sung. As a skilled calligrapher, painter, and connoisseur, he was appointed Doctor of Painting and Calligraphy under Hui-tsung (r. 1101-1125), thereby giving him the opportunity to examine the treasures in the imperial collection. This work is part of a discourse on cursive script. Taking the calligraphy of the Chin dynasty (265-420) as the standard, Mi Fu’s contents include a hint of criticism for the cursive script of such T'ang dynasty (618-907) calligraphers as Chang Hsu, Huai-su, Kao Hsien, and Tzu Kuang. Admiration for the Chin over the T’ang is often seen in Mi Fu’s discourses on calligraphy. Since this work is completely in the manner of the Two Wangs of the Chin (Wang Hsi-chih and Wang Hsien-chih) without a hint of the wild cursive of the T'ang, it shows that Mi Fu indeed “practiced what he preached.” This work is from the album “Authentic Works by the Four Sung Masters.” |
| 收藏著錄 | 石渠寶笈續編（重華宮），第三冊，頁1672-1676 |
| 收藏著錄 | 故宮書畫錄（卷三），第一冊，頁146-151 |
| 收藏著錄 | 故宮歷代法書全集，第十一冊，頁40-63、193-195 |
| 參考書目 | 1.何炎泉，〈宋四家真蹟 冊 宋米芾書論書〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁318-325。 2.黃緯中，〈米芾〈論書帖〉辨字〉，《故宮文物月刊》，第159期（1996年6月），頁119-125。 3.何炎泉，〈從米芾〈論書〉帖看他與高閑、韓愈之間的關係〉，《故宮文物月刊》，第274期（2006年1月），頁50-61。 |
| 參考書目 | 吳誦芬，〈宋四家真蹟 冊 宋米芾書論書〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁78-79、268-269。 |
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