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民國譚澤闓行書七言聯 軸
勳勞至大不矜伐。道德積身惟敬勤。敬之先生正捥。弟譚澤闓。
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者譚澤闓
- 書體行楷書
- 裝裱形式軸(對聯)
- 數量二軸
- 作品語文漢文
- 集叢號-類型單件
- 典藏尺寸本幅@#@203.3x44.6@#@@#@全幅@#@51.3
- 質地本幅@#@紙
- 印記資料作者印記@#@譚澤闓印@#@@#@作者印記@#@瓶齋
- 參考資料收藏著錄@#@何應欽將軍遺贈書畫展圖錄，頁60、109@#@@#@內容簡介（中文）@#@民國初期，「顏體」書法的傳緒不乏其人，書家融入個人對顏書的詮釋，進一步豐富傳統書法表現的內涵，譚澤闓（一八八九－一九四七）適為其中之一。譚氏字祖同，號瓶齋，湖南茶陵人。早年即沈潛詩文書法，無意仕進，以砥礪學行為個人努力的目標。由於勤習顏體書法多年，譚氏練就渾厚的筆力之外，復能掌握結字方圓的變化，寫來剛柔相濟恰到好處。本幅為何應欽將軍捐贈。(20110103)@#@@#@內容簡介（英文）@#@ In the early Republican era were many calligraphers following the “Yan Style,” referring to Yan Zhenqing. Adding interpretations of Yan’s style into their own, they gave further substance and richness to traditional calligraphy. Tan Zekai was such a person. A native of Chaling in Hunan, in his early years he delved into poetry and calligraphy, choosing not to pursue a career in office and instead striving to become a devoted and upright scholar. Because Tan assiduously studied the Yan Style for many years, he was not only able to practice natural and powerful brushwork, he could also grasp the variations of angled and rounded strokes, striking a perfect balance between hard and soft. This work was donated to the Museum by General Ho Ying-chin.(20110103)
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