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本幅纸隔水一绫隔水二绫拖尾纸释文:
唐褚遂良书。汉兴六十馀载。海内艾安。府库充实。而四夷未宾。制度多阙。上方欲用文武。求之如弗及。始以蒲轮迎枚生。见主父而歎息。群士慕向。异人并出。卜式拔于刍牧。弘羊擢于贾竖。卫青奋(圈去)旧于奴仆。日磾出于降虏斯亦曩时版筑饭牛之明已。汉之得人。于兹为盛。儒雅则公孙弘。董仲舒。儿寛。笃行则石建。石庆。质直则汲黯。卜式。推贤则韩安国。郑当时。定令则赵禹。张汤。文章则司马迁。相如。滑稽则东方朔。枚臯。应对则严助。朱买臣。历数则唐都。洛下闳。恊律则李延年。运筹则桑弘羊。奉使则张骞。苏武。将率则卫青。霍去病。受遗则霍光。金日磾。其馀不可胜纪。是以兴造功业。制度遗文。后世莫及。孝宣承统。纂修洪业。亦讲论六艺。招选茂异。而萧望之。梁丘贺。夏侯胜。韦弘成。巖彭祖。尹更始以儒术进。刘向。王襃以文章显。将相则张安世。赵充国。魏相丙吉。于定国。杜延年。治民则黄霸。王成。龚遂。郑弘召。信臣韩延寿。尹翁归。赵广汉。严延年。张敞之属。皆有功迹见述于世。参其名臣。亦其次也。臣褚遂良书。印记资料:
鑑藏宝玺:乾隆御览之宝题跋资料:
题跋类别:题跋;作者:赵孟坚拖尾 ;书体:行书;全文:河南三龛孟法师二刻早年所书。房公乔圣教记序。长安同州本。并晚年书。此倪宽赞。与房碑记序。用笔同晚年书也。容夷婉畅。如得道之士。世尘不能一毫婴之。观之自鄙束缚于毫楮间耳。诸王孙赵孟坚子固书。主题:
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收藏着录: 石渠宝笈初编(御书房),下册,页875 收藏着录: 故宫书画录(卷一),第一册,页6 参考书目: 1.朱惠良,〈明钱溥跋唐褚遂良书倪宽传赞〉,收入《云间书派特展图录》(台北:国立故宫博物院,1994年初版),页130-131。2.朱惠良,〈云间书派特展简介 — 钱溥跋唐褚遂良书倪宽传赞〉,《故宫文物月刊》,第139期(1994年10月),页82。3.张光宾,〈故宫博物院收藏法书与碑帖〉,《故宫季刊》,第九卷第三期(1975年春),页5-19。4.〈倪宽传赞〉,收入何传馨、陈阶晋、侯怡利编,《故宫法书新编(三)唐 褚遂良墨蹟》(台北:国立故宫博物院,2010年十二月初版一刷),页4-30。 内容简介(中文): 褚遂良(西元五九六-六五八年),字登善,浙江钱塘人。善书法,早年学虞世南,后乃祖法王羲之,而能自成一家法。书体疏瘦劲鍊,清远萧散,微杂隶体,深获太宗之器重,官至尚书右仆射,高宗即位,封河南郡公,世称褚河南。 本幅书法笔意柔婉而富拙趣,历代论者多认为是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯,与唐代情况不类,而书体之用笔亦与褚书有所出入,结构较似欧体,认为是宋人临写。(20110913) 内容简介(中文): 褚遂良(西元五九五-六五八年),钱塘(杭州)人,字登善。擅长隶书,甚得到当时书法名家欧阳询的称讚。由魏征推荐与唐太宗讨论书法。本卷字的笔划疏瘦,运笔过程,一划之间,有粗有细,字的姿态,有种翩翩自得,秀丽美妙,使人如面对一位一尘不染,清净绝俗的高士。倪宽(?-西元前一○三年),千乘人。他善于处理法律案件。武帝执政时,有功于水利建设和年历的制定。 褚遂良(西元五九六-六五九年),杭州钱塘人,人称褚河南,为人耿直忠烈,高宗时因谏止武则天为皇后被贬死。 褚遂良的书法出自北碑,继学虞世南和王羲之,终能在欧阳询与虞世南之外,自创一体,成为初唐三大家之一。褚书用笔瘦劲,结体疏朗宽阔,笔划富粗细的变化,优美的顿挫勾挑动作,更为褚书增加了一分妩媚。此幅笔力稍弱,不见褚书直中带曲的张力,可能是南宋的摹本。 褚遂良(西元五九六-六五八年),字登善,浙江钱塘人。善书法,早年学虞世南,后乃祖法王羲之,而能自成一家法。书体疏瘦劲鍊,清远萧散,微杂隶体,深获太宗之器重,官至尚书右仆射,高宗即位,封河南郡公,世称褚河南。 本幅书法笔意柔婉而富拙趣,历代论者多认为是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯,与唐代情况不类,而书体之用笔亦与褚书有所出入,结构较似欧体,认为是宋人临写。 内容简介(英文): Ch'u Sui-liang, a native of Hangchow, excelled at clerical script and was praised by Ou-yang Hsün, a famous calligrapher of the time. Wei Cheng recommended him to Emperor T'ai-tsung. The characters here are thin and poen. However, within each character, some strokes are narrow while others thicker. The characters have a kind of light and airy effect that is both elegant and beautiful, as if one is looking at the pure and unsullied character of the calligrapher for which he was renowned. Ni K'uan (?-103 BC) was a native of Ch'ien-ch'eng. He excelled at handling legal cases. In the administration of Emperor Wu-ti, he was effective at designing flood control projects and devising calendrical systems. 内容简介(英文): Chu Suiliang (style name Dengshan), a native of Qiantang in Zhejiang, excelled at calligraphy. In his early years he studied the style of Yu Shinan but later turned back even further to Wang Xizhi to form a style of his own. Chu’s characters are sparse and thin yet strong and tempered for a pure and remote effect of desolate looseness mingled with elements of clerical script. Being greatly admired by Emperor Taizong, Chu served up to the post of Right Deputy Director of the Imperial Secretariat. When Gaozong assumed the throne, he was ennobled as the Duke of Henan Prefecture, becoming known to others as “Chu of Henan.” The brushwork in the calligraphy of this piece is soft and graceful yet full of simplicity. Critics through the ages generally regard this as a late work of Chu Suiliang. Recent scholars refer to Chu’s habit of using taboo characters in the text as dissimilar to that in the Tang dynasty as well as to the difference between the brushwork in the characters as differing from other accepted works by Chu. Along with the characters being more similar to Ouyang Xun’s, they use these as evidence that this work is a copy by a Song dynasty calligrapher.(20110913)