參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編(延春閣),第六冊,頁2800
|
|
內容簡介(中文) |
唐太宗得〈蘭亭序〉墨蹟後,敕供名家搨摹,時以歐陽詢(五五七-六四一)所摹著者為最佳,遂刻石置於宮中。宋熙寧間(一0六八-一0七七)定武太守薛珦所搨之本,名〈定武蘭亭〉,據帖後袁桷跋,認為此帖為刻石入宣和內府後,搨賜王黻。曾經宋元名家收藏或題跋,一向是〈蘭亭序〉的名蹟。本帖字體端凝,和歐書〈化度寺碑〉接近。以薄紙搨,筆劃肥瘦適度,渾古而意態從容。
|
|
內容簡介(英文) |
After T'ai-tsung (598-649) acquired Wang Hsi-chih's Orchid Pavilion Preface, he ordered famous calligraphers to make copies, the best of which was by Ou-yang Hsun. Carved in stone, it was displayed at court. Lost after the T'ang, it was not found until the 11th century, when Hsueh Hsiang, Prefect of Ting-wu, made a rubbing-hence the name Ting-wu. Two versions exist, one with 5 characters missing. Though this is the latter, Yuan Chieh (1266-1327) felt it was the one given to Wang Fu after the stone entered the Hsuan-ho (1119-1125) collection. It is the most famous Preface version. The steady style is similar to Ou-yang's. The thin paper results in crisp archaic lines preserving Wang Hsi-chih's style.
|
|
內容簡介(中文) |
353年王羲之和他的友人,在浙江會稽山陰的蘭亭舉行修禊雅集,曲水流觴,賦詩唱和,王羲之作序,即是〈蘭亭序〉。原蹟今已失傳,不過化身為無數的臨摹本與石刻拓本,成為歷代書法家學習行書的最佳範本。〈定武蘭亭〉拓本即其中一種,由於刻石在定武(今河北真定縣)發現,因此以定武為名。一般認為這是依據唐代重要書家歐陽詢摹本上石,是蘭亭諸刻中最好的刻帖。這件拓本從一些模拓的特徵和卷後題跋、鈐印來看,可能是十一世紀的拓本,也是目前僅存的完整的善拓本。
王羲之祖籍山東,出身仕族世家,西晉末隨父南渡,作過右軍將軍、會稽內史,東晉永和年間(三四五—三五六)去職,與東土名士盡山水之游。他熱衷詩歌、音樂與書法,學書的歷程是由近而古,轉益多師,取資廣博,尤其精研體勢,將秦篆漢隸各種不同的筆法融於真行草體中,形成最完美的體勢。這件書蹟雖然經過摹寫與刻拓,仍然可以看出王羲之行書兼有端莊與流麗的美感。文章的內容在表達豁達開朗的人生觀,書法也追求不激不厲,平和優雅的風度。(何傳馨)
|
|
參考書目 |
1.何傳馨,〈定武蘭亭真本〉,收入何傳馨、何炎泉、陳韻如編,《晉唐法書名蹟》(臺北:國立故宮博物院,2008年初版),頁49-53。
2.何傳馨,〈定武蘭亭真本 卷〉,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312-317。
3.王競雄,〈宋拓定武蘭亭真本〉,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290。
4.楊敦禮,〈定武蘭亭之欣賞〉,《故宮文物月刊》,第49期(1987年4月),頁76-80。
5.何傳馨,〈晉王羲之定武蘭亭真本〉,《故宮文物月刊》,第200期(1999年11月),頁60。
6.何傳馨,〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(五) — 書法、圖書文獻〉,《故宮文物月刊》,第248期(2003年11月),頁4。
|
|
內容簡介(中文) |
北宋初年在河北定武出現的〈蘭亭序〉石刻,相傳在大觀年間入藏內府,王黼(1079-1126)得到出自內府的拓本,於政和元年(1111)書一長跋,論述〈蘭亭詩〉與〈蘭亭記〉的來源。同年,友人「之系」亦書一長跋,論唐太宗得〈蘭亭序〉墨蹟的經過。其後有政和甲午(1114)公達等觀跋。 宋人對〈定武蘭亭〉的論辨十分熱衷,文獻中多見關於此本起源、刻石流傳、拓本鑑別的討論,本卷兩則題跋即是一例。(20061206)
|
|
內容簡介(英文) |
In the early Northern Sung period, a stone engraving of the “Preface to the Orchid Pavilion Gathering” was discovered in Ting-wu, Hopeh. Said to have entered the imperial collection in the Ta-kuan era, Wang Fu received a rubbing taken from the stone and in 1111 composed a long colophon for it, discussing the origins of the “Poems of the Orchid Pavilion (Gathering)” and “Record of the Orchid Pavilion (Gathering)”. In the same year, a friend of his by the name “Chih-hsi” also wrote a long colophon, detailing the process by which the T'ang emperor T'ai-tsung acquired the original ink version of “Preface to the Orchid Pavilion Gathering”. Afterwards is a colophon by Kung-ta (from 1114) and other inscriptions. Scholarly debate on the “Ting-wu Rubbing of ‘Preface to the Orchid Pavilion Gathering’” was quite intense in the Sung dynasty, with many records discussing the origins of this version, transmission of the stone engraving, and distinctions among the rubbings. The two colophons on this handscroll are an example of this discussion(20061206)
|
|
內容簡介(中文) |
永和九年(353)三月三日,王羲之在蘭亭與好友舉行修禊雅集,寫下著名的蘭亭詩序,為唐太宗所藏。原蹟雖已失傳,不過唐代以來即轉化為無數的臨摹本與石刻本,成為歷代書家的模範。〈定武蘭亭〉即是其中一種,以刻石的發現地河北定武為名。本件拓本字蹟筆畫略粗,卷後有北宋人題跋,從字蹟缺損與石紋的自然裂痕來看,是目前僅見完整的初拓本。(20081012)
|
|
內容簡介(英文) |
On the third day of the third lunar month in the Yung-ho ninth year (corresponding to 353 CE), Wang Hsi-chih hosted a gathering of friends at the Orchid Pavilion to perform the rites of ablution (purification). Writing a preface to the poetry composed there, Wang’s masterpiece eventually came into the hands of the T’ang emperor T’ai-tsung (r. 626-649). Although the original was lost, innumerable copies and stone engravings have been made since the T’ang dynasty, making this one of the most celebrated models for calligraphers through the ages. The Ting-wu rubbing is one of these copies and named after the site in Hopeh were the stone engraving was discovered. The strokes in the characters here are slightly coarse, and at the end of the scroll are inscriptions by writers of the Northern Sung period (960-1127). Judging from the missing characters due to damage and the natural features of abrasion, it appears to be the only surviving complete early rubbing of this stone engraving. (20081012)
|
|
參考書目 |
院藏碑帖特展目錄,頁163-165、370-371。
|
|
參考書目 |
林宛儒,〈定武蘭亭真本 卷〉,收入《以文會友-雅集圖特展》(臺北:國立故宮博物院,2019.10),頁32-39、275。
|
|
參考書目 |
陳韻如,〈定武蘭亭真本 卷〉,收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》(臺北:國立故宮博物院,2016.10),頁58-63、261-263。
|