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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁879-880
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收藏著錄 |
故宮書畫錄（卷一），第一冊，頁1
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內容簡介（中文） |
孫過庭（西元七世紀），字虔禮，浙江富陽人（書譜中自稱吳郡人）。〈書譜序〉在短短三千字的文內，品評古代書法家的優劣，討論書法的技巧與經驗，並總結從六朝到唐代以來的書法理論。
本文不僅是寶貴的早期書法理論史料，本身更是一件優美的書法作品。孫過庭的草書深受王羲之章草的影響。全文以圓筆為主，但他的筆劃比王羲之的「十七帖」更變化多端，結構也更修長。
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內容簡介（英文） |
Sun Kuo-t'ing, a native of Chekiang, presented a concise and complete essay appreciating the virtues of ancient calligraphers in the short span of 3,000 characters. In discussing the techniques and experiences in calligraphy, he summarized the history of this art from the Six Dynasties period to the T'ang dynasty.
Not only is this work a precious source of historical material on the early history and theory of calligraphy, it is also a beautiful work in its own right. Sun's cursive script was influenced by the draft-cursive script of Wang Hsi-chih. Done mostly with a rounded brush, Sun's strokes are more varied than in Wang's Seventeen Works (Shih-ch'i t'ieh) and the characters are further elongated.
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內容簡介（中文） |
本卷草書三百五十一行，為初唐書法家、書學理論家孫虔禮所作。孫虔禮，生卒年不詳，據卷末「垂拱三年（687）寫記」，推估作者活動年代在西元七世紀後期，即唐高宗和武后時代。其名、字號和藉貫歷來說法不一，依孫氏友人陳子昂所作《孫君墓誌銘》中所載，孫氏名虔禮，字過庭，河南陳留人。本幅則為孫氏僅存的書跡。
本卷起首自書「書譜卷上」，卷末謂「今撰為六篇，分為兩卷。」知此作原為六篇，分為上、下二卷，今故宮所藏，僅為上卷中書譜總序一篇。文長三千餘字，論理精確，敘述扼要，為珍貴的早期書法理論史料。而文字本身更是一件優美的書法精品。全文以圓筆為主，並巧用隸法，深受王羲之章草的影響。但其筆劃比王羲之的「十七帖」更變化多端，結構也更修長。
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內容簡介（英文） |
This handscroll in cursive script, composed of 351 vertical lines of text, was done by the early T'ang calligrapher and theorist Sun Kuo-t'ing. Little is known about Sun, but he dated this scroll to 687, indicating that he was active at least in the latter half of the 7th century. There is also some controversy to other parts of his biography, but an epitaph written by a friend indicates his surname was Sun, his given name Ch’ien-li, his style name Kuo-t'ing, and his hometown in Honan province. This work represents the only surviving piece by this calligrapher.
The first column of the handscroll at the right states, “Chapter one of Essay on Calligraphy,” and the end is inscribed, “This is a selection of six topics divided into two chapters.” The scroll now in the Museum collection represents only the general preface at the beginning of chapter one, which has not survived. More than 3000 characters in length, the contents deal with the essential points and basic principles of calligraphy, making it an important example of early calligraphic theory. The calligraphy itself is also a masterpiece of early cursive script. Using rounded brushwork with some elements of clerical script, it reflects the strong influence of Wang Hsi-chih's draft cursive script from the 4th century. However, the strokes here are more varied and the characters more slender than those shown in Wang's “Letters of the Seventeenth”.
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參考書目 |
1.朱惠良，〈唐孫過庭書譜〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁14-17。
2.何傳馨、城野誠治撰稿，峰岸佳葉等翻譯，《孫過庭書譜光學攝影檢測報告》（臺北：國立故宮博物院，2008）。
3.何傳馨，〈唐孫過庭書譜〉，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113-117。
4.何傳馨、城野誠治撰稿，峰岸佳葉等翻譯，《孫過庭書譜光學攝影檢測報告》（臺北：國立故宮博物院，2008）。
5.蘇瑩輝，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁17-18。
6.朱惠良，〈唐孫虔禮書譜序〉，《故宮文物月刊》，第100期（1991年7月），頁100-101。
7.鐘民豐，〈「書譜」節筆及古法帖折紙方法之探索〉，《故宮文物月刊》，第115期（1992年10月），頁24-45。
8.張光賓，〈故宮博物院收藏法書與碑帖〉，《故宮季刊》，第九卷第三期（1975年春），頁5-19。
9.高樂知，〈中國書法造形分析法 — 以孫過庭書譜為例〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(下)》（臺北：國立故宮博物院，1992），頁599-626。
10.何炎泉，〈張瑞圖(1570-1641)行草書風之形成與書法應酬〉，《國立臺灣大學美術史研究集刊》，第19期(2005)，頁133-162。
11.侯怡利，〈唐孫過庭書譜〉，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182。
12.何傳馨、陳階晉、侯怡利編，《故宮法書新編（二）唐 孫過庭書譜》（臺北：國立故宮博物院，2010年九月初版一刷）。
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內容簡介（中文） |
孫過庭（活動於七世紀後半）字虔禮，吳郡（江蘇蘇州）人，曾任率府錄事參軍。去職後，欲致力於書學研究，以嘉惠學者，不過中年遽世，未竟志業。此卷書於武后垂拱三年（687），篇首題「書譜卷上」，內容包含書法評論、書體功用、書法審美與學習等議題。全卷書風或謹飭，或粗放，點畫時而連綿流美，時而直率質樸，自然流露出書寫過程的心理變化。 (20081012)
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內容簡介（英文） |
Sun Kuo-t’ing, style name Ch’ien-li, was a native of Wu-chun (modern Soochow, Kiangsu) and once served as Administrative Supervisor of the Guard Command. After leaving office, he devoted himself to the study of calligraphy to benefit students of this art form. Unfortunately, he passed away in middle age before fulfilling his goal. This handscroll was done in the third year of Wu Tse-t’ien’s Ch’ui-kung reign (corresponding to 687), the front title reading, “Essay on Calligraphy, Scroll One.” The contents include a discourse on calligraphy, the functions of script types, and the aesthetics and practice of calligraphy. The style ranges from sober and reserved to coarse and untrammeled, the dots and strokes at times appearing continuous and beautifully flowing, while at others simple and direct. Thus, it naturally reveals the writer’s feelings during the process of calligraphing the work. (20081012)
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網頁展示說明 |
這卷草書作品〈書譜〉全長900.8公分，現存351行，全文約3700多字，是唐代書法理論家與書法家孫過庭，完成於垂拱三年（687）的名作。 孫過庭自述十五歲開始留心翰墨，沉浸數十年。他的書法工夫深厚，加上天賦高超，備受歷代評論家讚賞。孫過庭立志編撰一部有助於初學者的著作，不過在有生之年未能完成，只留下這篇緒論，全文內容主要有四部份：一是討論書法的「博涉」與「精工」，強調兼通各種書體的重要性。二是闡述編錄〈書譜〉的原則。三是舉出臨學的範本，提醒學者臨習時須著重內在的心理因素，而非外在的形體。最後論述書法學習的進程、態度及境界。 書譜全卷存在妍潤與粗放兩種不同的書法表現，妍潤者，運筆平緩，結體優美；粗放者，運筆快速，不加修飾，孫過庭似乎有意在本卷書寫時，實際示範草書的變化之美。 (20081012)
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網頁展示說明 |
This surviving handscroll of cursive script is about nine meters long and consists of about 3,700 characters in 351 lines. This masterpiece was written by the learned theorist and practitioner of calligraphy Sun Kuo-t'ing and completed in the third year of the Ch'ui-kung year (687). In Sun Kuo-t'ing's own words, he started paying attention to calligraphy at the Chinese age of 15, delving into it for several decades thereafter. With calligraphy his labor of love, combined with an exceptional talent in it, Sun's efforts led him to become praised by critics through the ages. He was determined to compose a work to assist beginning students of calligraphy, but unfortunately unable to complete it before his death, leaving only this preface, the contents of which can be divided into four main parts. The first part discusses achieving “breadth” and “skill” in calligraphy, emphasizing the importance of skill in all the major script types. The second is a description of the principles behind recording “Essay on Calligraphy.” The third emphasizes the copying of models, reminding scholars that when copying they must focus on spiritual elements and not just external forms. The final part is a description of the process, attitude, and realm in studying calligraphy. “Essay on Calligraphy” contains both elegant and coarser manners of expression all together in one piece. In the more elegant parts, the brushwork is gentle with more graceful. In coarser sections, the brushwork is quick without ornamentation. It seems that Sun Kuo-t'ing intentionally sought to provide concrete examples of the various forms of beauty in calligraphy when doing this work. (20081012)
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內容簡介（中文） |
孫過庭字虔禮，籍貫生平不詳，是初唐重要的書法家和書學理論家。
此卷文長三千餘字，寫於垂拱三年（687），精要地品評古代書家的優劣，敘述書法技巧與學習經驗，是一部珍貴的早期書法理論史料。同時，本卷深受王羲之草書影響，時而妍潤，運筆平緩，結體優美；時而粗放，運筆快速，不加修飾，顯現構思、謄錄與改寫過程中，情緒的起伏變化，與內容論旨十分契合。
(20110913)
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內容簡介（英文） |
Sun Guoting, Tang dynasty (608-907)
Sun Guoting (style name Qianli), ancestral hometown unknown, was an important practitioner and theorist of calligraphy in the early Tang period.
This handscroll features more than 3,000 characters. Written in 687, it is a concise critique of the virtues and faults of ancient calligraphers. Also describing the techniques of this art form and Sun’s experiences in learning it, the scroll thereby provides precious early historical material on the theory of calligraphy. At the same time this work also reveals the profound influence of Wang Xizhi’s cursive script. At times it is beautifully fluid with brushwork even and gentle, forming graceful character forms. At other times the brush movement is quick and unadorned, portraying the beauty of variations in cursive script to the utmost. Not only is this work the most important text on calligraphy theory from the early Tang, it is also an extremely rare surviving example of calligraphy from that period.
(20110913)
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網頁展示說明 |
孫過庭（活動於七世紀後期），一說名虔禮，字過庭，河南陳留人，一說名過庭，字虔禮，浙江富陽人。根據本卷自題，為吳郡人，名過庭。出身寒微，遲至不惑之年始出任率府錄事參軍之職，以性高潔遭讒議而去官。之後，遂專注於書法研究。
本卷卷首題：「書譜卷上。吳郡孫過庭撰」，卷尾題：「垂拱三年寫記」。內容主要為書學體驗、書譜撰寫要旨及學習書法的一些基本原則。一般認為本（上）卷為「序」，宋元明時分為兩卷，入嚴嵩之手時，裝為一卷。下卷為「譜」，作者生前未能完成。
孫過庭專習王羲之草書，筆法精熟，唐代無人能與他相比。本卷紙墨精好，神彩煥發，不僅是一篇文辭優美的書學理論，也是草書藝術的理想典範。卷中融合質樸與妍美書風，運筆中鋒側鋒並用，筆鋒或藏或露，忽起忽倒，隨時都在變化，令人目不暇給。筆勢縱橫灑脫，達到心手相忘之境。
(20110913)
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參考書目 |
國立故宮博物院編輯委員會，〈唐孫過庭書譜 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁14-17。
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