| 基本資料 | 藏品類型 | 書法 |
| 文物統一編號 | 故書000261N000000022 抽盤點紀錄 修護紀錄 more... | |
| 作品號 | 故書00026100010 | |
| 品名 |
元明人題錢譜雜文 冊 楊維禎書跋語 Colophon to the Album Ku-ch’uan-p’u in Cursive Script |
|
| 分類 | 法書 | |
| 作者 | 楊維禎 | |
| 書體 | 草書 | |
| 數量 | 七幅 | |
| 作品語文 | 漢文 | |
| 釋文 | 華亭姚澤持一縹綠冊。再拜晉於鐵先生曰。此澤平日好古博雅之功。曰古泉譜也。先生閱之。自三代以降。靡不搜奇獵異而集之。斯亦厪矣。先生常作孔方傳。每嘆古今泉貨之變。而知世變之變。曰不古若也。近又作楮寶傳。楮交對觀音楮辭。而益感慨世變之變。極於無可奈何而已也。澤裒古泉而冊之。其益痛世變之變。曰不可以復古也歟。吾徒艾內生首為文以引其集。敘史有法。不出吾鐵史斷也。其言有謂。澤之稽古泉。熟與多識前言往行之為古乎。吾今知澤之前言往行亦能如搜泉之搜。以其極微且遠矣。澤勗諸先生者。李忠介公榜第二甲晉士揚維禎廉夫也。 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅一至七 | 25.3x32.7 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 題籤 | 楷書 | 楊維禎字廉夫。會稽人。元泰定中進士。官至江西儒學提舉。明洪武二年召纂樂書。太祖以前朝老文學遣使奉幣詣門。維禎辭不就。復遣有司追趣。乃乘安車詣闕留百二十日。維禎以曾仕元乞白衣放歸。太祖全其志。仍賜安車還山。所著書凡數百卷。 |
| 印記資料 | 【印記類別】 | 【印記】 |
| 作者印記 | 會稽楊維禎印 | |
| 作者印記 | 廉夫 | |
| 作者印記 | 抱遺老人 | |
| 作者印記 | 東維子 | |
| 作者印記 | 清白傳家 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（養心殿），上冊，頁467 | |
| 收藏著錄 | 故宮書畫錄（卷三），第一冊，頁269 | |
| 參考書目 | 1.朱惠良，〈元楊維禎草書題錢譜〉，收入《雲間書派特展圖錄》（臺北：國立故宮博物院，1994年初版），頁121-122。 2.王競雄，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(五) — 書法、圖書文獻〉，《故宮文物月刊》，第248期（2003年11月），頁13。 3.朱惠良，〈由書蹟觀世變 — 楊維禎題古泉譜冊〉，《故宮文物月刊》，第281期（2006年8月），頁16-31。 | |
| 內容簡介（中文） | 楊維禎（西元一二九六－一三七0年），浙江紹興人，字廉夫，號東維子、鐵笛道人。三十二歲及進士第，署天台尹，以狷介故，為黠吏陷，遂免官，往來蘇松一帶。然心繫國事，曾上正統辯，為時所賞，後復官，會四海兵亂，遂泯跡江浙間。晚年居松江，因其學問文章氣節而來從學者眾。其文放逸險絕，稱鐵崖體，書風亦狂怪清勁，與文風相類。本幅草書題松江姚氏所藏古泉譜冊，為元明人題錢譜雜文冊之十，行筆蒼勁，結字奇倔，墨色乾濕燥潤變化多端，為楊氏晚年精品。 | |
| 內容簡介（英文） | Yang Wei-chen (style name Lien-fu; sobriquets Tung-wei-tzu, T’ieh-ti-tao-jen) was a native of Shao-hsing, Chekiang. He served as an official in T’ien-t’ai. Because of his stubborn, rash, and straightforward personality, he often encountered difficulties with officials. He eventually gave up officialdom and went to Suchou and Sung-chiang. However, still interested in politics, he submitted an essay on orthodoxy and legitimacy (Cheng-t’ung pien). For this, he received much praise and once again became an official. Late in life, he settled in Sung-chiang. Because of his erudition, his literary output, and his moral integrity, he attracted many students. His literary style is daring and risky, and his calligraphy is equally wild and strange. Yang Wei-chen used cursive calligraphy to write the tenth colophon to the album, Ku-ch’uan-p’u ts’e, which belonged to Mr. Yao of Sung-chiang. Yang Wei-chen’s brush movement is swift and energetic, and the composition of the characters is slightly strange. There is also tremendous variation in the ink tonality. This is a masterpiece which Yang Wei-chen executed late in life. | |
| 內容簡介（中文） | 楊維禎（西元一二九六—一三七0年），浙江紹興人，字廉夫，號東維子、鐵笛道人。三十二歲及進士第，署天台尹，以狷介故，為黠吏陷，遂免官，往來蘇松一帶。然心繫國事，曾上正統辯，為時所賞，後復官，會四海兵亂，遂泯跡江浙間。晚年居松江，因其學問文章氣節而來從學者眾。其文放逸險絕，稱鐵崖體，書風亦狂怪清勁，與文風相類。本幅草書題松江姚氏所藏古泉譜冊，為元明人題錢譜雜文冊之十，行筆蒼勁，結字奇倔，墨色乾濕燥潤變化多端，為楊氏晚年精品。 | |
| 內容簡介（英文） | Yang Wei-chen (style name Chien-fu and sobriquets Tung-wei-tzu and T’ieh-ti tao-jen was a native of Shao-hsing, Chekiang. At the age of 31, he received his chin-shih civil service degree and served as Magistrate of T’ien-t’ai. However, he was a direct and stalwart figure who made enemies in office. He was thus removed from office. Thereafter, he spent much time studying dynastic history, taking part in the official debate concerning the orthodoxy of rule. He thus became admired for his stance and was restored to his post. With the fall of the Yuan dynasty, he travelled about the south, and in his later years resided in Sung-chiang. Due to his reputation as a scholar and writer, he had many students. His writing was unrestrained and untrammelled in a style that was named after him. His calligraphic style was also somewhat wild and unconventional, much like that of his writing. This work is an inscription in cursive script for the album entitled Ku-ch’uan p’u once in the collection of a Mr. Yao in Sung-chiang, which was collected as leaf 10 in the album Various Writings on the Ch’ien-p’u by Yuan and Ming Artists. His running script is hoary and taut, and the calligraphy eccentric. The differences between moist and dry brush strokes are quite noticeable, making this a masterpiece of Yang’s later years. | |
| 網頁展示說明 | 楊維禎（西元一二九六－一三七Ｏ年），字廉夫，號鐵笛道人，會稽（今浙江紹興）人。元泰定四年（一三二七）及進士第，以狷介故，遭陷免官，後逢兵亂，避居錢塘、富春山而至終老。 本幅草書題松江姚氏所藏古泉譜冊，為元明人題錢譜雜文冊之十。楊書下筆，力透紙背，老辣之甚，書風狂怪清勁，與號鐵崖體之放逸險絕文風相類。此作行筆蒼勁，結字奇倔，墨色乾濕燥潤變化多端，為楊氏晚年精品。(20110101) | |
| 網頁展示說明 | Yang Weizhen (style name Lianfu, sobriquet Tiedi daoren), native to Guiji (modern Shaoxing, Zhejiang) was a Presented Scholar (jinshi) of 1327. An honest and upright official, he was set up by adversaries and relieved of office. Later due to civil chaos, he sought refuge in Qiantang and the Fuchun Mountains, where he lived for the rest of his life. This work is for a catalogue of ancient coins in the collection of a Mr. Yao in Songjiang, being the tenth in an album of various writings by Yuan and Ming dynasty figures. Yang's brush seems to penetrate the paper with vigor, the style wild and eccentric yet pure and brisk, much in the untrammeled and precipitous (Tieyai) style for which he was known. The brushwork is powerful, characters lean with force, and ink ranges considerably in moisture, making this a masterpiece of Yang's late work. (20110101) | |
| 網頁展示說明 | 楊維禎（1296-1370）、字は廉夫、號は鐵笛道人、会稽（現在の浙江省紹興）の人。元泰定4年（1327）に進士に及第したが、偏狭な性格のゆえ、職を解かれた。後に兵乱を避けて銭塘、富春山に居を構え、晩年を迎えた。本作は松江の姚氏所蔵の古泉譜冊─元、明代の書家が銭譜を題とした雜文冊の第十に収錄されている。楊維禎の書は、墨が紙の?に浸透するほど力強く、老練の極みである。その書風は風変わりだが清らかで力強く、「鐵崖体」と稱された自由闊達な楊氏の文章に通じるものがある。本作の筆遣いは力強く、結字は実に個性的で、墨色は乾湿相まって変化に富んでいる。楊氏晩年の名作である。(20110101) |
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