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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續篇（御書房），第四冊，頁1905
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收藏著錄 |
故宮書畫錄（卷一），第一冊，頁18
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內容簡介（中文） |
顏真卿（西元七0九－七八五年），字清臣，山東臨沂人。開元中進士，世稱顏魯公。安史之亂，魯公堂兄顏杲卿孤軍守常山，城破不屈，與子顏季明殉難。
魯公在此篇沉痛的祭姪文中，措辭莊重嚴正，然而書寫過程卻流露出至情至性。文中楷、行、草互見，但字字俱有魯公渾圓厚重的楷書基礎。全篇墨色有濃有枯，其中刪改塗抹正可見情緒起伏之跡，最後寫至嗚呼哀哉，哀痛至極遂化為狂草。
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內容簡介（英文） |
Yen Chen-ch'ing was a native of Shantung and a chin-shih degree holder who was a loyal official and defender of the T'ang. In his effort against the Li Hsi-lieh rebels, he was captured and executed.
This work represents a heartfelt requiem written by Yen for his nephew. Despite its serious and formal content, Yen's calligraphy reveals his inner feelings. Elements of standard, running, and cursive script appear, but all are based on Yen's round and heavy strokes in standard script. The ink ranges from thick to dry, and the corrections to the contents reveal the emotional spontaneity of the draft. The final exclamation to the content of the text correlates to the wild cursiveness of the calligraphy found at the end.
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內容簡介（中文） |
顏真卿（七０九-七八五），字清臣，開元二十二年（七三四）中舉進士，歷任戶部侍郎、尚書左丞、刑部尚書諸職，曾受封為魯郡公，任平原郡為太守，後世遂稱顏魯公、顏平原、顏太師。祖籍山東臨沂，先祖均為經史訓詁名家。魯公三歲喪父，由母親殷氏教養，二兄顏允南課讀。
唐朝初期書風承隋朝，兼容南北，太宗又特別推重王羲之。開元天寶年間，盛唐時期雍容偉壯風格產生，魯公雄偉氣象的書風，正是代表人物，其影響歷經千年，至今不衰。
天寶年間安史之亂，魯公堂兄顏杲卿任常山郡太守，賊兵進逼，太原節度使擁兵不救，以至城破，顏杲卿及其子季明殉難。事後魯公派長姪泉明前往善後，因而有此卷之作，這年魯公五十歲。
全卷文字以魯公渾厚的楷書為基礎，楷、行、草各體互見。墨色亦因行筆的起止停走，而有濃枯變化，其中刪改塗抹處，更可見到魯公書寫時情緒起伏轉折的心路歷程。這篇沈痛的祭文，措辭莊重嚴正，流露至情至性的情感，當是魯公存世第一名手書墨蹟。
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內容簡介（英文） |
Yen Chen-ch'ing, from a renowned family in the Shantung area, was a chin-shih civil service graduate of 734 and served in a number of high offices. During the revolt of Li Hsi-lieh, he was ordered to serve an imperial notice to the rebels. However, he was detained by the rebels and executed, making him a martyr of the T'ang dynasty. Earlier, in the An Lu-shan rebellion, his cousin was serving as a local magistrate. When rebels invaded the area, the T'ang armies did not come to their rescue, resulting in the death of Yen's cousin and nephew. Thus, it was under these circumstances that Yen Chen-ch’ing at the age of 49 composed this work.
Early T'ang calligraphy followed that of the Sui dynasty and fused northern and southern styles, and Emperor T'ai-tsung particularly admired the Wang Hsi-chih manner from the 4th century. By the first half of the 8th century, however, the dignified and imposing manner of High T'ang calligraphy was formed, and the grand style of Yen Chen-ch'ing was most representative. The influence of his calligraphy would extend for more than a thousand years, even up to the present day.
This work by Yen Chen-ch'ing, however, is a draft for a formal work. With his sturdy standard script as a foundation, his standard, running, and cursive scripts are all evident here. The movement of his brush also reflected changes in wet and dry ink. Consequently, this piece looks as if written in a single sitting. It even includes corrections, revealing the changing emotions and thoughts of Yen Chen-ch’ing as he wrote. Although this is a solemn requiem, it still reveals Yen’s character and emotions, making it one of the premier works from his hand.
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參考書目 |
1.王耀庭，〈唐顏真卿祭姪文稿帖〉，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18-19。
2.侯怡利，〈唐顏真卿祭姪文稿〉，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163-166。
3.王競雄，〈祭姪文稿〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁186。
4.鄭瑤錫，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁18-19。
5.許郭璜，〈略論顏真卿祭姪文稿〉，《故宮文物月刊》，第80期（1989年11月），頁34-39。
6.鍾民豐，〈從顏魯公祭姪祭伯文稿談起〉，《故宮文物月刊》，第90期（1990年9月），頁36-51。
7.鄭瑤賜，〈唐顏真卿祭姪文稿〉，《故宮文物月刊》，第100期（1991年7月），頁98-99。
8.李銘宗，〈顏真卿祭姪文稿「光祿夫」合文例釋〉，《藝術學報》，56期(1995)，頁263-276。
9.王競雄，〈唐顏真卿祭姪文稿〉，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192。
10.〈祭姪文稿〉，收入何傳馨、陳階晉、侯怡利編，《故宮法書新編（五）唐 顏真卿墨跡》（臺北：國立故宮博物院，2010年十二月初版一刷），頁4-38。
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內容簡介（中文） |
顏真卿（709—785），字清臣，山東臨沂人，世稱顏魯公。安史亂時，因援兵未至使常山失守，顏氏一門多人遇害，〈祭姪文稿〉正是魯公為殉難的姪兒顏季明所作。這篇沉痛的祭文為魯公傳世經典之作，墨色濃淡乾濕的明顯變化，及塗抹刪改的痕跡，顯露魯公振筆疾書時翻騰的思緒。真、行、草筆法並用，使轉靈活且蒼勁有力，展現顏書結體寬博與筆劃沉穩的特性，被譽為「天下第二行書」。 (20081012)
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內容簡介（英文） |
Yen Chen-ch’ing, style name Ch’ing-ch’en, was a native of Lin-i in Shantung and also known as “Yen, Duke of Lu.” During the An Lu-shan rebellion (755-763), troops supporting the court were not deployed to Ch’ang-shan, which was lost and resulted in many members of the loyal Yen clan there meeting with disaster. This requiem was written by Yen Chen-ch’ing in memory of his nephew, Yen Chi-ming, who died for the T’ang court. This requiem of great grief and sadness is also one of Yen Chen-ch’ing’s greatest surviving masterpieces of calligraphy. Obvious differences to the thickness and wetness of the ink tones are evident, and many marks where he crossed out or revised the contents clearly show how he yielded the brush with great directness and speed. Regular, running, and cursive script methods appear here, making this work both spirited and powerfully mature at the same time. It also displays the features of Yen Chen-ch’ing’s majestic characters and the great steadiness of his strokes, which is why it is praised as the “second best work of running script under the Heavens.” (20081012)
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內容簡介（中文） |
顏真卿（709－785），字清臣，山東臨沂人。為人清剛正直，任事不顧個人安危，為一代忠臣的典型。由於書法素養深厚，端凝厚實正如其人，復為書史尊為德藝兼修的典範。〈祭姪文稿〉作於乾元元年（758），為唐代「安史之亂」留下第一手親筆史料，文中述及堂兄顏杲卿、姪子顏季明力戰殉難，可以輔證新舊唐書的記載。文稿雖見增刪塗改，卻筆筆真情流露，而為鮮于樞推許「天下行書第二」。(20110913)
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內容簡介（英文） |
Yan Zhenqing (style name Qingchen), a native of Linyi in Shandong, was known for his pure and upright character, ignoring personal safety when facing matters of state and becoming a model in his time of a loyal official. His deep cultivation in calligraphy was just as upright and solid as his character, which is why later generations turned to him in calligraphy history as a paragon combining cultivation in morals and with the brush. This work, done in 758, is personally written historical material providing a first-hand account of the An Lushan Rebellion. The contents describe how Yan Zhenqing’s cousin, Yan Gaoqing, and his nephew, Yan Jiming, struggled valiantly to resist the rebels but lost their lives for the dynasty, thus providing supplementary records to histories of the Tang dynasty. Despite additions to and deletions from the text, the brushwork is frank and revealing in his emotions throughout, which is why Xianyu Shu of the Yuan praised it as “The second-best running script under the heavens.”(20110913)
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網頁展示說明 |
顏真卿（709－785），後世尊稱顏魯公、顏平原。祖籍山東臨沂。李西烈叛亂，魯公奉命前往諭降，貞元元年（785）八月三日，以不屈殉節。安史之亂，魯公堂兄顏杲卿任常山郡太守，賊兵進逼，太原節度使擁兵不救，以至城破，顏杲卿與子顏季明罹難。所以文中說，「賊臣不救，孤城圍逼，父陷子死，巢傾卵覆。」事後魯公派長姪泉明前往善後，僅得杲卿一足、季明頭骨，乃有〈祭姪文稿〉之作，時年魯公五十歲。評論書法作字、向有字如其人之說。魯公一門忠烈，生平大節凜然，精神氣節之反應於翰墨，本卷最為論書者所樂舉。通篇使用一管微禿之筆，以圓健筆法，有若流轉之篆書，自首至尾，雖因墨枯再醮墨，墨色因停頓起始，黑灰濃枯，多所變化，然前後一氣呵成。
本卷既是起草文稿，其中刪改塗抹，正可見魯公為文構思，始末情懷起伏，胸臆了無掩飾，當是存世魯公手書第一名墨蹟。
(20110913)
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參考書目 |
國立故宮博物院編輯委員會，〈唐顏真卿祭姪文稿 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁18-19。
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