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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷一），第一冊，頁106
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁936-937
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內容簡介（中文） |
祝允明（西元一四六0－一五二七年），字希哲，號枝山，江蘇蘇州人，三十三歲薦為舉人，五十五歲任廣東興寧知縣，後升任應天府（南京）通判。他具有多方面才藝，九歲能作詩，二十餘歲以古文揚名蘇州，書法廣泛師法古人，有豐富多變化的面貌，晚年以豪放縱逸的狂草享譽書壇。本卷草書千字文，以點畫取態，以使轉取勢，將原本字字獨立，整齊畫一的千字文，寫成行氣連貫，橫斜交錯的整體作品，是六十四歲的傑作。
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內容簡介（英文） |
Chu yun-ming (style name Hsi-che, sobriquet Chih-shan) was a native of Soochow. As a young man, Chu demonstrated his abundant talents in many arts. At the age of eight he could already write poetry, and while he was still in his twenties his essays in the ancient style received much admiration. In calligraphy he studied a broad range of ancient styles, resulting in the rich and constantly changing appearance of his writing. Chu was especially famous in calligraphy circles for his vigorous and unrestrained cursive script of his later years. This copy of the One-thousand Character Essay in cursive script, written when Chu Yun-ming was sixty-three years old, derives its expressiveness from the fluent brushstrokes and its feeling of motion from the turns of the brush. Departing from earlier calligraphic examples of the essay in which each individual character maintained its own structural and spatial integrity, Chu created a more unified work by stringing characters together vertically, and by paying special attention to the horizontal and diagonal relationships of characteers in adjacent lines.
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內容簡介（中文） |
祝允明（1460－1526），字希哲，號枝山，長洲（今蘇州）人，三十三歲薦為舉人，五十五歲任廣東興寧知縣，後升任應天府（今南京）通判。書法廣泛師法古人，有多樣的面貌。本卷通幅空間的疏密佈列、筆勢的抑揚頓挫，與運筆的輕重緩急等，都蘊含著豐富變化。雖字字獨立，然在書家精熟用筆與結字下，不僅行氣連貫更帶有縱橫交錯的整體感，為其六十四歲時之草書傑作。
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內容簡介（英文） |
Zhu Yunming (style name Xizhe, sobriquet Zhishan) was a native of Changzhou (modern Suzhou). At the Chinese age of 33, he passed the provincial juren civil service examination through recommendation. Then, at 54, he assumed the post of Administrative Clerk in Xingning, Guangdong, and later was promoted to Assistant Prefect of Yingtianfu (modern Nanjing). In calligraphy, he learned from a wide range of old masters’ styles, developing a variety of manners. Here, the arrangement is spacious and the brush force modulating, the brush movement contrasting between light and heavy as well as slow and fast, revealing a great deal of change. Each character is independent, but the calligrapher’s adept brushwork and character forms not only create a sense of continuity between the lines but also uniformity as a whole, making this a masterpiece of cursive script done by Zhu at the Chinese age of 64.
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參考書目 |
1.何傳馨，〈四海一家 —本院文物赴美參展「一四九二之際探險時代之藝術」圖錄專輯〉，《故宮文物月刊》，第103期（1991年10月），頁16-17。
2.〈明祝允明書千字文〉，收入何傳馨、陳階晉、侯怡利主編，《五體千字文選輯》（臺北：國立故宮博物院，2010年六月出版一刷），頁51。
3.何炎泉，〈千字文概論〉，收入何傳馨、陳階晉、侯怡利主編，《五體千字文選輯》（臺北：國立故宮博物院，2010年六月出版一刷），頁176-188。
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參考書目 |
何炎泉，〈明祝允明書千文 卷〉，收入余佩瑾主編《品牌的故事-乾隆皇帝的文物收藏與包裝藝術》（臺北：國立故宮博物院，2017.12），頁170-173。
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參考書目 |
〈明祝允明書千文 卷〉，收入何炎泉主編《毫端萬象-祝允明書法特展》（臺北：國立故宮博物院，2013.01），頁152-157、373。
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參考書目 |
何炎泉，〈明祝允明書千文 卷〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁156-159。
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