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清何紹基臨張遷碑 軸
牧守相係。不殞高問。孝弟於家。中謇於朝。蝯叟。
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- 典藏尺寸本幅@#@94x42@#@@#@全幅@#@270x62.5
- 質地本幅@#@紙
- 題跋資料簽@#@包首@#@蝯叟臨張遷直幀。晚年筆。瓶齋秘笈。
- 印記資料作者印記@#@何紹基印@#@@#@作者印記@#@子貞@#@@#@收傳印記@#@習是齋藏天隨閣遺篋珍品@#@@#@收傳印記@#@習齋臨過
- 參考資料收藏著錄@#@譚伯羽譚季甫先生昆仲捐贈文物目錄，頁182、305-306@#@@#@參考書目@#@游國慶；〈筆走龍蛇—清代中晚期經學家書法〉，《故宮文物月刊》，第351期（2012年6月份），頁114-127。@#@@#@內容簡介（中文）@#@何紹基（西元一七九九－一八七三年），湖南道縣人。字子貞，號東洲、蝯叟。博學多才，精通金石書畫，尤工書法。何氏書法由顏真卿入手，上追秦漢篆隸，融各體書法於一爐，自成一格。 〈張遷碑〉為東漢名碑，本軸即節臨此碑，文云：「牧守相係。不殞高問。孝弟於家。中謇於朝。蝯叟。」以濃墨顫筆書寫，筆筆中鋒，筆勢雄強。全作未忠於原碑，全出己意。本幅為譚伯羽、譚季甫先生昆仲捐贈。@#@@#@內容簡介（中文）@#@何紹基（西元一七九九─一八七三年），字子貞，號東洲、蝯叟，湖南道縣人。道光十六年進士，曾任翰林院編修，四川學政。博學多才，尤工於詩，精通金石書畫，以書法聞名於世。何氏書法由顏真卿入手，上追秦漢篆隸，融各體書法於一爐，自成一格。 本軸以隸書寫北魏〈張遷碑〉，未忠於原碑，不求形似，全出己意，筆筆中鋒，以濃墨顫筆，顯現北碑之渾厚雄強。本幅為譚伯羽譚季甫先生昆仲捐贈 @#@@#@內容簡介（英文）@#@Ho Shao-chi (native to Tao-hsien, Hunan) was a Presented Scholar (chin-shih) of 1836 and in the Hanlin Academy and Education Commissioner of Szechwan. Of wide learning, he was good at poetry and especially gifted at Bronze and Stone style calligraphy. In the latter, Ho began studying Yen Chen-ch’ing’s style, tracing back to Ch’in and Han seal and clerical script to fuse them for his own style. This work (donated by Messrs. Tann Po-yu and Tann Chi-fu) is a clerical script copy of the Eastern Han “Chang Ch’ien Stele.” Not faithful to the original, Ho went beyond external form and completely rendered it in his own style. Each stroke is centered, the dark ink done with a trembling brush still revealing the Eastern Han simple and robust aura.@#@@#@內容簡介（英文）@#@He Shaoji (style name Zizhen, sobriquets Dongzhou, Yuansou), native to Daoxian, Hunan, was widely learned and talented, being versed in Bronze and Stone painting and calligraphy while especially gifted at calligraphy. In the latter, He Shaoji began studying Yan Zhenqing’s style, tracing back to Qin and Han dynasty seal and clerical script, fusing them for his own style. This work, donated by Messrs. Tann Po-yu and Tann Chi-fu, is an excerpted copy of the famous Zhang Qian stele of the Eastern Han. The entire work was done in trembling strokes of dark ink with the brush centered in a powerful manner. Though not faithful to the original, He Shaoji went beyond form to fully render it in his own style.
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