书体:

行书

色彩:

装裱形式:

册(折装)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

句曲外史赋听泉亭绝句。叠石为山小结亭。亭皋白水浸空青。要知鱼鸟忘情地。却是无声最可听。雨。

印记资料:

作者印记：句曲外史
收传印记：耿嘉祚

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页712-714 收藏着录： 故宫书画录（卷三），第一册，页252-253 收藏着录： 故宫历代法书全集，第十六册，页68-91、173-179 参考书目： 1.陈韵如，〈元张雨书听泉亭绝句〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页330。 内容简介（中文）： 张雨（1283-1350）字伯雨，号句曲外史，浙江钱塘人。张雨早年弃家入道，曾北上大都，结识虞集等知名士人。南返后，以文学道士身分活动于江南文士圈。张雨与黄公望同为道教中人，往来密切，常为其画作诗。张雨书风受赵孟頫影响，笔势姿态清丽，从唐人法度中脱出晋人精神，晚年结体左右更张，呈现自我风格。此作用笔讲究姿态，结字雍容又略显自然随意，但未如晚年变化剧烈，推测为中后期作品。(20110609) 内容简介（中文）： 张雨（西元一二八三－一三五0年），字伯雨，号句曲外史，浙江钱塘人。元代著名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 整幅书作，用笔顿挫分明，俊爽清遒。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。章法疏朗，呈现一派平和恬淡之象，道人书家超尘绝俗的「仙气」若现其间。选自「元人法书」第七幅。 内容简介（英文）： Chang Yu, a native of Chekiang, was a famous Taoist of the Yuan. His writing is pure, while his painting and calligraphy are untrammeled. Ni Tsan praised his art as “the best among Taoist works.” In the whole work, the beginning and end of the strokes are clearly distinguished, but the manner is flowing and pure while the structure is solid. Where the running script is free and natural, we see traces of his early study of Chao Meng-fu’s style. The arrangement is open, revealing an appearance of peace and lightness. The otherworldly style of Taoist calligraphers reaches beyond the mundane worled and makes the viewer feel as if in the realm of the immortals. This is the 7th leaf from Works by Yuan Calligraphers. 内容简介（英文）： Zhang Yu (style name Boyu, sobriquet Juqu waishi) was a native of Qiantang in Zhejiang. In his early years he left home and became a Taoist, once heading north to the capital Dadu and making the acquaintance of such notable scholars as Yu Ji. After returning south, he became active in Jiangnan scholarly circles as a litterateur and Taoist. Zhang Yu and Huang Gongwang were both Taoists and had frequent contact with each other, often doing poetry for Huang’s paintings. Zhang Yu’s style of calligraphy was influenced by Zhao Mengfu, the brush force and manner being pure and appealing. Zhang brought out the spirit of Jin calligraphers from the confines of Tang calligraphy, the left-right character extensions in later years becoming more exaggerated to create a style of his own. In this work the brushwork is fastidious and with bearing, the character structure composed and with a slight natural ease. However, it does not yet reveal the dramatic variations of Zhang Yu’s late years, suggesting a date from his late-middle years.(20110609)