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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮受贈文物選萃，頁68、155
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收藏著錄 |
林宗毅先生捐贈書畫目錄，頁50、120-121
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內容簡介（中文） |
清代書壇，書家往往兼有詩文、繪畫或篆刻方面的學養，而能夠四者兼長成就卓越也不乏其人，趙之謙即屬於其中之一。 趙之謙（一八二九－一八八四），浙江紹興人。他對北朝碑刻文字書法，投注許多心力，在這方面的成就也深受世人贊賞。柔軟的毛筆在他使轉之下，能夠寫出碑刻的力感，卻又能夠把碑刻鋒芒稜角化為柔和流動，因此他的書風兼有剛柔兩種質素。這幅對聯介於楷書和行書之間，帶有放恣的氣息，必須在楷法純熟之後，纔可以做如此的嘗試。就好比小娃兒走路，在走得平穩之後，纔能放開步來跑跑跳跳。
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內容簡介（英文） |
Calligraphers in the Ch'ing dynasty were often cultivated in one or more of the arts of poetry, painting, and seal carving. To be gifted in all four of them was quite unusual, and Chao Chih- Chao, a native of Chekiang, delved into the study of calligraphy and characters in stone from the Northern Dynasties period, and he was greatly admired for his achievements. The turning, flexible tip of his brush was able to convey the original force of carving the stone stele while also making the angular features of the characters soft and flowing. Consequently, his calligraphic style was sharp yet rounded. The manner of this couplet falls in between standard and running script, and it bears a sense of unrestraint. Indeed, one must be completely familiar with standard script in order to be able to experiment like this. It is like a toddler who must first learn to walk steadily before being able to run and jump. This couplet was donated to the National Palace Museum by Mr. Lin Tsung-i.
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參考書目 |
1.劉芳如、陳階晉、譚怡令、何炎泉，〈近代書畫名品選萃〉，《故宮文物月刊》，第310期（2009年1月），頁72。
2.陳階晉；〈心追手摹—筆有千秋業展件選介〉，《故宮文物月刊》，第354期（2012年9月份），頁88-97。
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內容簡介（中文） |
趙之謙（一八二九－一八八四），字撝叔，浙江紹興人。清代書壇，書家往往兼有詩文、繪畫或篆刻方面的學養，趙氏即是四絕兼長的出類拔萃者。其書法宗北朝碑刻，作書以方筆驅使，勁拔挺秀，深受世人贊賞。此幅對聯介於楷、行之間，帶有放恣的氣息，柔軟的毛筆在其使轉之下，能夠寫出碑刻的力感，卻又能夠把碑刻鋒芒稜角，化為柔和流動，足見功力深厚。
本幅為林宗毅先生捐贈。
釋文：
草呼風氣池搖月影。德溥甘露言感清泉。述庵公祖大人正書。趙之謙。
(20120713)
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內容簡介（英文） |
Zhao Zhiqian (style name Huishu) was a native of Shaoxing in Zhejiang. In the Qing dynasty, many calligraphers were cultivated in poetry and prose, painting, and seal carving as well. Zhao Zhiqian was the most distinguished at these Four Perfections. His calligraphy followed Northern Dynasties steles, using angular brushwork to press forward. Standing out with force and elegance, it was much praised by contemporaries. The script in this couplet lies between regular and running, having an untrammeled atmosphere. The turns of the pliant brush also reveal the power of stele engraving. Though retaining the sharpness of its lines, they have become softer and fluid, showing the depth of Zhao Zhiqian’s training. This work was donated by Mr. Lin Tsung-yi.
(20120713)
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