收藏著錄@#@石渠寶笈三編(延春閣),第六冊,頁2698@#@@#@收藏著錄@#@故宮書畫錄(卷一),第一冊,頁148-152@#@@#@參考書目@#@1.陳階晉,〈康里巙巙(原題康里巙)致彥中尺牘〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁315-316。
2.陳階晉,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元康里巎巎(原題康里巎)致彥中尺牘〉,《故宮文物月刊》,第225期(2001年12月),頁32-33。
@#@@#@內容簡介(中文)@#@康里巙(西元一二九五-一三四五年),西域康里氏,字子山。順帝時為翰林學士承旨,諡文忠。博通群書,善真、行、草書。書史謂其行草師鍾繇、王羲之,筆畫遒媚,轉折圓勁。又謂其書從王獻之來,旁及米芾,神韻可愛。此牘行草書,兼用二王及米芾筆法,運筆流利俊爽,墨色清潤。收信者為其朝中同事,時任江南行台架閣庫管勾葉彥中,書成時間約在一三二九年前不久,是康里氏晚年之作。
(20121017)@#@@#@內容簡介(中文)@#@康里巙巙(西元一二九五-一三四五年),西域康里氏。字子山,號正齋、恕叟,又號蓬累叟。順帝時為翰林學士承旨,諡文忠。博通群書,善真、行、草書。
書史謂康里巙巙行草師鍾太傅、王右軍,筆劃遒媚,轉折圓勁。又謂其書從大令來,旁及米南宮,神韻可愛。此牘兼用二王及米芾筆法,是早年書風,與其晚年參合章草筆意自成一格之面貌,大異其趣。@#@@#@內容簡介(英文)@#@K'ang-li Nao-nao (style name Tzu-shan; sobriquets Cheng-chai, Shu-sou, and P'eng-lei-sou) was Academician and Recipient of Edicts in the Hanlin Academy during the period of Emperor Shun (r. 1333-1368). He was given the posthumous title Wen-chung. His knowledge was extensive and he excelled in standard, semi-cursive, and cursive scripts.
Calligraphy histories record that his semi-cursive and cursive scripts follow the styles of Chung Yu (151-230) and Wang Hsi-chih (307-365), and that in addition to his handsome brushwork, the twists and turns of his writing were round and forceful. Histories also record that his graceful calligraphy originated with Wang Hsien-chih (344-388) and Mi Fu (1051-1107). The style seen in this letter which is a representative of k'ang-li's early work combines the brush style of Wang Hsi-chih and Wang Hsien-chin, and Mi Fu. Its appearance differs considerably from the individualistic style of his later years which adopted some elements of the draft cursive script.@#@@#@內容簡介(英文)@#@ Kangli Nao (style name Zishan; posthumous title Wenzhong) from the Kazak tribe Kangli served as Hanlin Recipient of Edicts under Emperor Shun. Widely learned, he excelled at standard, running, and cursive scripts. Histories record his running cursive as following Zhong You and Wang Xizhi, his brushwork handsome with round forceful turns. Histories also state his script began with Wang Xianzhi, incorporating Mi Fu’s style for attractiveness. The semi-cursive here combines aspects of the Two Wangs and Mi Fu, the movement fluid and pure with pure full ink tones. The recipient was a fellow official, Ye Yanzhong, serving then as Archivist at the Jiangnan Branch Censorate. From not long before 1329, it is a late example of Kangli’s calligraphy.
(20121017)