收藏著錄@#@石渠寶笈續編(寧壽宮),第五冊,頁2625@#@@#@收藏著錄@#@故宮書畫錄(卷一),第一冊,頁27@#@@#@參考書目@#@1.何傳馨,〈唐懷素自敘帖〉,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20-23。
2.何傳馨,〈唐懷素自敘帖〉,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129-132。
3.何傳馨,〈自敘帖〉,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187。
4.〈唐懷素自敘帖〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁171。
5.何傳馨、城野誠治撰稿,王耀庭主編,《懷素自敘帖卷檢測報告》(臺北:國立故宮博物院,2005)。
6.本社,〈懷素草書自敘帖〉,《故宮文物月刊》,第11期(1984年2月),頁1。
7.張清治,〈千古醉人一僧書 — 談懷素書自敘帖〉,《故宮文物月刊》,第11期(1984年2月),頁14-29。
8.何傳馨,〈唐懷素自敘帖〉,《故宮文物月刊》,第100期(1991年7月),頁96-97。
9.穆棣,〈懷素《自敘帖》中「武之□記」考〉,《故宮文物月刊》,第173期(1997年8月),頁118-133。
10.王裕民,〈懷素自敘帖新研〉,《故宮文物月刊》,第231期(2002年6月),頁62-75。
11.李郁周,〈懷素〈自敘帖〉草書「基因」的比勘〉,《故宮文物月刊》,第233期(2002年8月),頁24-35。
12.何傳馨,〈讓墨蹟說話:懷素〈自敘帖〉的實況〉,《故宮文物月刊》,第259期(2004年10月),頁4-15。
13.張光賓,〈故宮博物院收藏法書與碑帖〉,《故宮季刊》,第九卷第三期(1975年春),頁5-19。
14.何傳馨,〈懷素自敘帖在明代之流傳及影響〉,《中華民國建國八十年中國藝術文物討論會論文集 書畫(下)》(臺北:國立故宮博物院,1992),頁661-684。
15.陳葆真,〈南唐烈祖的個性與文藝活動 〉,《國立臺灣大學美術史研究集刊》,第2期(1995),頁27-46。
16.翁同文,〈懷素生年二說及其名下千字文二本問題〉,《東吳大學中國藝術史集刊》,第二卷(1973年11月),頁39-49。
17.王競雄,〈唐懷素自敘帖〉,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196-197。
18.何傳馨、陳階晉、陳昱全編,《故宮法書新編 (七) 唐 懷素自敘帖》(臺北:國立故宮博物院,2011年八月初版一刷)。
@#@@#@參考書目@#@國立故宮博物院編輯委員會,〈唐懷素自敘帖 卷〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁20-23。@#@@#@內容簡介(中文)@#@僧懷素(活動於八世紀後半),俗姓錢,字藏真,湖南長沙(一說零陵)人。以草書聞名於鄉里,後北上長安,當代名流紛紛贈詩贊美,大曆丁巳(777)摘錄諸家贈詩及顏真卿序,書成本卷。卷中有的詩句以自然物象和誇飾的辭語,形容懷素草書之美;有的則推崇他繼承張旭的顛狂,追求狂縱奇異之態。全卷用細筆勁毫,筆勢連綿,奇蹤變化,實為草書藝術的極致表現。(20081012)@#@@#@內容簡介(中文)@#@僧懷素(活動於八世紀後半),俗姓錢,字藏真,湖南長沙(一說零陵)人。以草書聞名於鄉里,後北上長安,當代名流紛紛贈詩贊美,大曆丁巳(777)摘錄諸家贈詩及顏真卿序,書成本卷。卷中有的詩句以自然物象和誇飾的辭語,形容懷素草書之美;有的則推崇他繼承張旭的顛狂,追求狂縱奇異之態。全卷用細筆勁毫,筆勢連綿,奇蹤變化,實為草書藝術的極致表現。(20110913)@#@@#@內容簡介(中文)@#@懷素(西元七二五-七七七年後),長沙人,後徙京兆。字藏真,俗姓錢,幼出家為僧,以草書擅名當時。
本幅全文自敘其平生事,款大曆丁巳(七七七),時五十三歲。懷素自敘,世有三本,一在石陽休家,一在馮當世家,一在蘇舜欽家,本卷即蘇氏所藏者。全卷筆法瘦硬圓勁,使筆飛動圓轉,如錐畫沙。@#@@#@內容簡介(英文)@#@Huai-su (style name Ts'ang-chen) was born into the Ch'ien family in Ch'ang-sha, Hunan. Early in life, he left his family to become a Buddhist monk, changing his name to Huai-su. He was most famous for his cursive script calligraphy.
Huai-su wrote this composition in 777, at the age of 52. There are 3 versions of the composition recorded in traditional Chinese catalogues;one in the collection of Shih Yang-hsiu; one in that of Feng Tang-shih; and the other in that of Su Shun-ch'ing. The present scroll is that from the Su collection. The brushwork here is exceptionally fine and forceful. The strokes were all rapidly executed and the characters are almost completely connected to one another for a sense of speed and flow.@#@@#@內容簡介(英文)@#@The monk Huaisu, originally going by the surname Qian and the style name Cangzhen, was a native of Changsha (or Lingling) in Hunan. Achieving renown in his hometown for cursive script, he later headed north to Chang’an, where famous people at the time presented poetry in admiration of his calligraphy. In the “dingsi” year of the Dali reign (corresponding to 777), he transcribed these verses of praise along with a preface by the master calligrapher Yan Zhenqing to compose this handscroll. Some of the lines here refer to natural phenomena or use exaggerated phrases to describe the beauty of Huaisu’s cursive script. Other passages praise him as an inheritor of the “wild and crazy” cursive script of Zhang Xu in his pursuit of unusual and unbridled qualities. The entire work was done with fine yet strong brushwork, the features continuous throughout for an unlimited range of unusual expressions, making this the ultimate in the art of cursive script. (20110913)@#@@#@內容簡介(英文)@#@The monk Huai-su, originally going by the surname Ch’ien and the style name Ts’ang-chen, was a native of Ch’ang-sha (or Ling-ling) in Hunan. Achieving renown in his hometown for cursive script, he later headed north to Ch’ang-an, where famous people at the time presented poetry in admiration of his calligraphy. In the ting-ssu year of the Ta-li reign (corresponding to 777), he transcribed these verses of praise along with a preface by the master calligrapher Yen Chen-ch’ing (709-785) to compose this handscroll. Some of the lines here refer to natural phenomena or use exaggerated phrases to describe the beauty of Huai-su’s cursive script. Other passages praise him as an inheritor of the wild and crazy cursive script of Chang Hsu (fl. 8th c.) in his pursuit of unusual and unbridled qualities. The entire work was done with fine yet strong brushwork, the features continuous throughout for an unlimited range of unusual expressions, making this the ultimate in the art of cursive script. (20081012)@#@@#@網頁展示說明@#@懷素(約活動於八世紀三十年代至七十年代)本姓錢,字藏真,僧名懷素。生於湖南零陵縣,後來移居長沙。幼年好佛,出家為僧,並熱衷草書藝術。約大曆七年(772)北赴長安及洛陽,尋求進一步發展。由於他個性灑脫,草書絕妙,受到顏真卿等書家、詩人及名流貴卿的激賞,紛紛贈以詩文。大曆十二年(777),他摘錄部分贈詩和序,以狂草寫成此卷。
本卷用細筆勁毫寫大字,筆畫圓轉遒逸,如曲折盤繞的鋼索,收筆出鋒,銳利如鉤斫,所謂「鐵畫銀鉤」也。全卷強調連綿草勢,運筆上下翻轉,忽左忽右,起伏擺蕩,其中有疾有速,有輕有重,像是節奏分明的音樂旋律,極富動感。此外也有點畫分散者,則強調筆斷意連,生生不息的筆勢,筆鋒迴護鉤挑,一字、一行,以至數行之間,點畫互相呼應。通幅於規矩法度中,奇蹤變化,神采動蕩,實為草書藝術的極致表現。
(20110913)