收藏著錄@#@譚伯羽譚季甫先生昆仲捐贈文物目錄,頁204.352
@#@@#@網頁展示說明@#@翁同龢(西元一八三O—一九O四年),字叔平,晚號瓶生,自署松禪,又署瓶齋居士。咸豐六年進士,江蘇常熟人。
翁氏幼年學歐陽詢、褚遂良,中年用力於顏真卿,更出入蘇軾、米芾,晚年沉浸漢隸,為同治、光緒年間重要書家。本卷書寫宋蘇軾〈石恪畫維摩贊〉文,卷末款題為臨作。相較於清初「三希堂法帖」收錄的蘇軾「維摩贊」,此卷跌宕縱逸,儼然具自家風貌。本件為譚伯羽、譚季甫捐贈。(20100406)
@#@@#@網頁展示說明@#@Weng Tonghe (style name Shuping, late sobriquet Pingsheng, self-styled names Songchan and Pingzhai jushi) was a native of Changshu, Jiangsu, who became a Presented Scholar (jinshi) in 1856. In his youth, Weng studied the Tang dynasty styles of Ouyang Xun and Chu Suiliang, in middle years striving for Yan Zhenqing's and even more so seeking those of Su Shi (Dongpo) and Mi Fu of the Song dynasty. In late years he delved into Han dynasty clerical script, becoming an important calligrapher in the latter half of the nineteenth century.
This handscroll transcribes Su Shi's "Eulogy on Shike's Painting of Vimalakirti," at the end Weng indicating it is a copy. Compared to Su's "Eulogy on Vimalakirti" in the early Qing imperial compilation of rubbings at the Sanxi Hall (Sanxitang fatie), this work is free and unrestrained, being more in the calligrapher's own style.
This work was donated to the National Palace Museum by Messrs. Tann Boyu and Tann Jifu.(20100406)
@#@@#@網頁展示說明@#@翁同龢(1830-1904)、字は叔平、晩年は瓶生と號した。自署は松禪、または瓶齋居士。咸豊6年進士、江蘇常熟の人。
翁同龢は幼少の頃より欧陽詢、褚逐良を学び、中年時代には顏真卿を深く学び、蘇軾と米芾の影響も受け、晩年は漢隷に傾倒した。同治、光緒年間における重要な書家の一人である。本作には宋代蘇軾の「石恪畫維摩贊」が記されており、卷末の款題に臨作(臨摸)とある。清代初期「三希堂法帖」に収錄されている蘇軾「維摩贊」に比べると、本作はのびのびとして抑揚があり、あたかも自作のようである。譚伯羽氏、譚季甫氏寄贈。(20100406)