| 基本資料 | 藏品類型 | 書法 |
| 文物統一編號 | 故書000257N000000002 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故書00025700002 | |
| 品名 |
元人法書 冊 倪瓚書詩五則 Five Poems |
|
| 分類 | 法書 | |
| 作者 | 倪瓚 | |
| 書體 | 楷書 | |
| 數量 | 一幅 | |
| 作品語文 | 漢文 | |
| 釋文 | （第一則）為張來儀命（點去）賦匡山讀書處。廬山鬱岧嶤。上有香罏峰。影落碧天外。翠玉琢芙蓉。牽蘿讀書處。雲（原作苔字）磴無行蹤。猶遺石上苔。花開紫丰茸。愁心亂春雪。寶氣沉雙龍。應化蘇耽鶴。歸棲千歲松。仙巖採薇叟。久別倘相逢（第二則）賦潘公鳴皐軒。白鶴稟靈質。翻翻有奇姿。海月比高潔。巖雲共逶迤。池上葛蒲花。春烟紫綏綏。飛鳴聊飲啄。乘風來下之。我登鳴皐軒。遂賦鳴皐詩。安得赤玉舄。鶴上吹參差。（第三則）馬國瑞東皐軒。未羨勳名馬伏波。少游鄉里樂婆娑。輕舟陌上山堪數。細雨籬邊菊未莎。浩蕩五湖鷗夢冷。蕭寥萬里鶴情多。寒廳時有幽人宿。月燭高張幔綠蘿。（第四則）次韻通書記同過鄭先生舊宅。女蘿垂綠翳衡門。野水通池沒舊痕。有道忘情觀物化。清言如在想人存。凄涼江海空茅宇。慘淡烟埃委石尊。一奠山泉薦芹藻。古心寂寞竟誰論。（第五則）贈郭本齋。高人郭本齋。輕舟東渡淮。賣藥不二價。向人多好懷。世方憂暍死。我豈與時乖。欲覓金光草。相期弱水涯。瓚錄呈大臨徵君併似德和郎官仲博廣文求教益。 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 23x55.5 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 |
| 印記資料 | 【印記類別】 | 【印記】 |
| 收傳印記 | 項篤壽 | |
| 收傳印記 | 耿嘉祚 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（重華宮），下冊，頁712-714 | |
| 收藏著錄 | 故宮書畫錄（卷三），第一冊，頁252-253 | |
| 收藏著錄 | 故宮歷代法書全集，第十六冊，頁68-91、173-179 | |
| 內容簡介（中文） | 倪瓚（西元一三0一年－一三七四年），江蘇無錫人，字元鎮，號雲林，山水風格簡淡，為元四大家之一，他的書法則自成一體，奕奕有晉宋人風氣。元初的趙孟頫學晉唐，書風流美圓潤，而倪瓚則由三國魏鍾繇〈薦季直表〉入手，面貌高古冷逸，無一絲俗塵。本幅字體瘦勁，造型稍扁，但結字甚緊，筆畫尾端強調隸書的波磔動作，將隸書的趣味和張力與楷書結合，本幅為「元人法書」冊之二。 | |
| 內容簡介（英文） | Ni Tsan was a native of Kiangsu noted in painting for a pure and remote landscape style and as one of the Four Great Yuan Masters. His calligraphy was likewise unique and reflected ancient origins. Chao Meng-fu's study of Chin and T'ang calligraphy in the early Yuan produced a style fluid and rounded. Ni Tsan, however, adopted aspects of the Chung Yu style for his lofty, ethereal, and untrammeled manner. The characters in this work are thin yet solid and forceful, and the forms slightly flat. They are compact with the ends of the strokes emphasizing the downward force of clerical script. He combined the style and tension of clerical script with standard script. This is the second leaf from Album of Yuan Calligraphy. | |
| 內容簡介（中文） | 倪瓚（西元一三0一－一三七四年），江蘇無錫人。字元鎮，號雲林、迂翁。性俊爽，雅厚敦行，工山水竹石，為元四大家之一。其翰札奕奕有晉宋人風氣，書史謂瓚書從隸入，輒在鍾繇荐季直表中奪舍投胎，古而媚，密而疏，冷逸荒率，如詩中之淵明。本幅書風天然古澹，無一點俗塵，是倪書之佳構。本幅為「元人法書」冊第二開。 | |
| 內容簡介（英文） | Ni Tsan (style name; Yuan-chen, sobriquets; Yun-lin, Yu-weng) was a native of Wu-hsi, Kiangsu. His personality was extraordinarily gifted, elegant, and sincere. He was good at depicting landscapes and bamboo with rocks and was later known as one of the Four Masters of the Yuan. His letters have, with alterations, the atmosphere of the styles of Tsin (317-420) and Sung (960-1279) period calligraphers. In the history of calligraphy, Ni Tsan's style was described as having derived from clerical script. Through Ni Tsan's repeated and faithful rendering of Chung Yu's (151-230) style, Ni was able to imitate the style so well that his could be mistaken for the other. Ni's style is archaic yet graceful and dense yet sparse. Its spirit is aloofly untrammeled and desolate like that of the famous poet T'ao Yuan-ming (372-427). The style of this piece is natural and archaistic without a trace of banality and is an excellent example of Ni Tsan's calligraphy. | |
| 內容簡介（中文） | 倪瓚（西元一三0一年－一三七四年），江蘇無錫人，字元鎮，號雲林，山水風格簡淡，為元四大家之一。他的書法則自成一體，奕奕有晉宋人風氣。元初趙孟頫書學晉唐，書風流美圓潤，而倪瓚則由三國魏鍾繇〈薦季直表〉入手，面貌高古冷逸，無一絲俗塵。 本幅字體瘦勁，造型稍扁，但結字甚緊，筆畫尾端強調隸書的波磔動作，將隸書的趣味和張力與楷書結合。(20100406) | |
| 內容簡介（英文） | Ni Zan (native to Wuxi, Jiangsu) had the style name Yuanzhen and the sobriquet Yunlin. With his simple and plain landscape style, he became one of the Four Yuan Masters. His calligraphy, in a style of its own, radiates the aura of Jin and Song masters. In the early Yuan, Zhao Mengfu studied Jin and Tang styles to form a fluid and rounded manner, but Ni Zan looked to the “Recommendation for Jizhi” by Zhong You of the Three Kingdoms (Wei) for inspiration, forming a lofty and archaic elegance without a hint of worldliness. The characters here are thin yet strong, the forms slightly flattened. The structure is tight, the stroke ends emphasizing wavelike movements in clerical script. Ni thus combined the style of clerical script with the tension of regular script.(20100406) |
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