參考資料
收藏著錄@#@故宮書畫錄(卷三),第一冊,頁1-4@#@@#@收藏著錄@#@石渠寶笈初編(養心殿),上冊,頁457-459@#@@#@收藏著錄@#@故宮歷代法書全集,第九冊,頁3-7、148-150@#@@#@收藏著錄@#@晉唐法書名蹟,頁14-25@#@@#@參考書目@#@1.何傳馨,〈晉王羲之快雪時晴帖〉,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8-9。 2.〈東晉王羲之快雪時晴帖〉,收入劉芳如主編,《書畫裝池之美》(臺北:國立故宮博物院,2008年初版一刷),頁150。 3.何傳馨,〈晉王羲之快雪時晴帖〉,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21-24。 4.嵇若昕,〈王羲之快雪時晴帖〉,收入馮明珠主編,《乾隆皇帝的文化事業》(臺北:國立故宮博物院,2002年初版一刷),頁32。 5.王耀庭、何傳馨,〈快雪時晴帖〉,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185。 6.〈晉王羲之快雪時晴帖〉,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168。 7.張光賓,〈快雪時晴帖〉,《故宮文物月刊》,第11期(1984年2月),頁105-109。 8.張光賓,〈國之重寶 — 書畫精萃特展〉,《故宮文物月刊》,第19期(1984年10月),頁12-13。 9.楊敦禮,〈時晴快雪對時晴 — 潛談快雪時晴帖〉,《故宮文物月刊》,第22期(1985年1月),頁45-49。 10.王耀庭,〈略述王羲之快雪時晴帖 何如奉橘三帖題跋的實況 — 兼答羅藏鋒先生來函〉,《故宮文物月刊》,第84期(1990年3月),頁78-89。 11.張光賓,〈晉王羲之快雪時晴帖〉,《故宮文物月刊》,第100期(1991年7月),頁90-91。 12.何傳馨,〈書畫菁華特展 — 王羲之快雪時晴帖〉,《故宮文物月刊》,第163期(1996年10月),頁41。 13.王裕民,〈快雪時晴帖鈐印的新發現 — 宋代官印研究一〉,《故宮文物月刊》,第171期(1997年6月),頁110-117。 14.王元軍,〈王羲之「快雪時晴帖」中的「君倩」是誰〉,《故宮文物月刊》,第191期(1999年2月),頁44-52。 15.嵇若昕,〈乾隆皇帝和他的文化顧問們〉,《故宮文物月刊》,第235期(2002年10月),頁34。 16.郭果六,〈書聖法帖與帝王題識 — 試尋院藏王羲之〈快雪時晴帖〉的較早面貌並談乾隆皇帝的帖上題識〉,《故宮文物月刊》,第312期(2009年3月),頁52-61。 17.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。 18.陳葆真,〈乾隆皇帝與《快雪時晴帖》〉,《故宮學術季刊》,第27卷第2期(2009年冬),頁127-192。@#@@#@參考書目@#@19.鄭淑方,〈晉王羲之快雪時晴帖〉,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176。
20.〈快雪時晴帖〉,收入何傳馨、陳階晉、侯怡利編,《故宮法書新編(一)晉 王羲之墨蹟》(臺北:國立故宮博物院,2010年初版一刷),頁4-37。
@#@@#@參考書目@#@劉芳如,〈晉王羲之快雪時晴帖 冊〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁34-39、296-302。@#@@#@參考書目@#@國立故宮博物院編輯委員會,〈晉王羲之快雪時晴帖 冊〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁8-9。@#@@#@內容簡介(中文)@#@王羲之(303-361),祖籍山東臨沂,西晉末徙居浙江會稽。曾任右軍將軍、會稽太守。擅長楷、行、草書,精研體勢,開創妍美典雅的書風,後人尊稱為「書聖」。此札前後署名具禮,通幅運筆沉著,結體優美。由收傳印記與文獻記載,可推斷為唐代精摹本。乾隆皇帝極珍愛此蹟,將此帖與王獻之的〈中秋帖〉、王珣的〈伯遠帖〉合稱為「三希」 (20081012)@#@@#@內容簡介(中文)@#@ 王羲之(303-361),東晉書法家,為南遷琅琊王氏士族貴胄,官拜至右軍將軍,人稱王右軍。書法師承衛夫人、鍾繇,後兼撮眾法,有書聖之稱。
本幅為唐代精摹本,行書四行二十八字,內容略述大雪初晴時的心情及對親朋的問候,結構由首語、正文和結尾三段組成。文中除「頓首」、「果為」等字作連筆草書外,通幅以行書為主,並兼帶楷法嚴謹的筆意,展現不疾不徐的雍容神態與流利秀美的意致。(20110913)@#@@#@內容簡介(中文)@#@王羲之(西元303~361,一作321~379,又作307-365),字逸少,原籍山東臨沂,官拜右軍將軍,會稽內史。精於章草、隸、八分、飛白、真、行諸體,亦能繪事,後世更尊為書聖。 本幅為唐代鈎摹善本,雙鈎精細,淡墨填廓,能得原蹟生動活潑之筆意,觚稜轉折,備見鋒芒。@#@@#@內容簡介(英文)@#@Wang Hsi-chih (style name I-shao) was a member of the aristocratic Wang clan that moved south from Lin-i, Shantung province, following the fall of the Eastern Chin. He was skilled in almost all of the calligraphic script types, and he was already highly regarded in his own time. He was so influential that later generations elevated him to the supreme position as the "Sage of Calligraphy." This particular work is a rare T'ang dynasty (618-907) tracing copy. The outlines of the individual characters were done with great refinement and then filled with ink. The exceptional quality of this copy provides insight into the lively brushwork of Wang's original. At the twists and turns, even the tip of the brush can be discerned.@#@@#@內容簡介(英文)@#@ Wang Xizhi was a native of Linyi in Shandong but later moved to Guiji in Zhejiang. The descendant of a noted family, he once served as General of the Right Army, which is why he was called “Right-General Wang.” In calligraphy, he first studied the style of Madame Wei and Zhong You, but later adopted the virtues of various manners, which he gathered and perfected to become honored as the “Sage Calligrapher.”
This work is a fine Tang dynasty copy composed of four lines with 28 characters. The contents describe the feeling of clearing right after a large snowfall and offer greetings to a friend. The wording is composed of three stages going from the beginning to the main text and then to the ending. The writing includes such characters as “dunshou 頓首” and “guowei 果為” that reveal the connected brushwork of cursive script, but most of the work is done in running script with some of the careful brush manner of regular script methods, suggesting a dignified spirit neither quick nor slow as well as an exceptional sense of elegantly flowing beauty.
(20110913)@#@@#@內容簡介(英文)@#@Wang Hsi-chih, whose ancestors were from Lin-i in Shantung, moved to Kuei-chi in Chekiang at the end of the Western Chin period. He once served as General of the Right Army and as Prefect of Kuei-chi. He was known, however, more for excelling at regular, running, and cursive script calligraphy, studying their features in depth to create an elegant style of unparalleled beauty, which is why later generations referred to him as the “Sage of Calligraphy.” This work bearing the writer’s and recipient’s names at the front and end is done with steady brushwork throughout, forming characters of exceptional beauty. Judging from the seals and inscriptions and the work’s documented history, it can be deduced that this is a fine copy from the T’ang dynasty. The Ch’ien-lung Emperor (r. 1736-1795) so admired this piece that he referred to it and Wang Hsien-chih’s “Chung-ch’iu” and Wang Hsun’s “Po-yuan” as the “Three Rarities.” (20081012)@#@@#@網頁展示說明@#@王羲之(約303-361),祖籍山東,出身仕族世家,西晉末隨父南渡,作過右軍將軍,會稽內史,東晉永和年間(345-356)去職,與東土名士盡山水之游。熱衷詩歌,音樂與書法。他學書歷程是由近而古,轉益多師,取資廣博,尤其精研體勢,將秦篆漢隸各種不同的筆法,融於真行草體中,形成最佳體勢,所以唐朝人稱頌他「兼撮眾法,備成一家,為萬世宗師」。 這是一件行楷書短簡,內容是大雪之後向友人問候。明代鑑賞家詹景鳳指出,此蹟筆法圓勁古雅,意態閑逸,對趙孟頫的行書有很深的影響。從用筆來看,此帖多圓鈍的用筆,點畫勾挑都不露鋒,結體平穩勻稱,在優美的姿態之中,流露出質樸內斂的意韻。乾隆皇帝極珍愛此蹟,譽之為「天下無雙,古今鮮對」。乾隆十一年,他將此蹟與王獻之的「中秋帖」,王珣的「伯遠帖」合稱「三希」,寶藏在「三希堂」中。此帖一般認為是唐代精摹本。釋文:羲之頓首。快雪時晴。佳想安善。未果為結。力不次。王羲之頓首。山陰張侯。 (20110913)