收藏著錄@#@譚伯羽譚季甫先生昆仲捐贈文物目錄,頁180-181.304@#@@#@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(一七九九─一八七三),湖南道縣人。道光十六年考中進士以後,曾經出任官職,擔任翰林院編修。後來選擇教書工作,在山東、湖南、浙江等地講學,對文字學、金石學研究深入,是有多方面成就的書法家。
何紹基寫字,用迴腕執筆法,寫來和一般人同樣順暢。此幅雖然臨寫三國魏〈公卿上尊號奏〉,卻沒有忠於原碑的筆法,他把漢隸和顏真卿楷書的質素引進來,使原來方峻的氣息變為渾厚,可說是何紹基自己的風格。這種融合變化出來的風格,雖然自成一家,卻不適合初學書法的人臨寫。因為何紹基這種風格是通過長久臨池功夫,奠基在熟練的楷書和隸書筆法之上。
@#@@#@內容簡介(英文)@#@Ho Shao-chi, a native of Hunan province, was a chin-shih civil service candidate of 1836. As an official, he went on to serve in the Hanlin Academy. Later, he decided to take up teaching and served as an instructor in Shantung, Hunan, and Chekiang provinces. He delved into the study of Chinese characters and ancient characters on bronzes and stone, becoming a calligrapher of many talents.
Ho Shao-chi's calligraphy was done with twisting wristwork as he held the brush, and it therefore appears quite fluid. Although this handscroll was done after the “Kung-ch’ing shang-tsun hao tsou” stele from the Wei dynasty (386-557), Ho Shao-chi took liberty with the style of the characters on the original stone stele. He added elements of Han dynasty (206 BC-AD 220) clerical script and the standard script of Yen Chen-ch’ing (709-785) to make the stiff carved features appear softer in a style all his own. His fusion of manners, however, is not appropriate for beginners in calligraphy because it requires a firm foundation in the techniques of standard and clerical scripts.