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民國臺靜農草書故國神遊 橫披
故國神游。多情應笑我。早生華髮。龍坡靜者。
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- 典藏尺寸本幅@#@44.2x68.8@#@@#@全幅@#@160x83.8
- 質地本幅@#@紙
- 印記資料作者印記@#@臺靜農@#@@#@作者印記@#@龍坡靜者@#@@#@作者印記@#@者回折了草鞵錢
- 參考資料收藏著錄@#@臺靜農先生遺贈書畫展覽，頁79、129@#@@#@內容簡介（中文）@#@臺靜農（西元一九O二—一九九O年），安徽霍邱人。字伯簡，晚號靜者。為當代著名文史學者、書法家，歷任國內各大學中文系教授。大家出手，往往出奇制勝，本幅行間字數，起手第一行兩字，而二行神字最一筆，特長，後二行早字又如此，最後一行也祇二字，蓋作書如作畫。至於筆調猶如海雨天風，老健之神情，溢於筆端，更是臺老本色。本幅釋文：故國神遊，多情應笑我，早生華髮。龍坡靜者。 本件為臺靜農先生遺贈。 @#@@#@內容簡介（中文）@#@臺靜農（西元1902-1990年），安徽霍邱人。字伯簡，晚號靜者。為當代著名文史學者、書法家，歷任國內各大學中文系教授。書藝宗法明末倪元璐，奇肆古雅是其風格。至於本幅釋文：「故國神遊，多情應笑我，早生華髮。龍坡靜者。」筆調猶如海雨天風，神情老健，溢於筆端抑揚頓挫的線條，充滿韻律感，展現出剛勁挺拔的自我風格，果是臺老本色。臺益堅先生捐贈。@#@@#@內容簡介（英文）@#@T'ai Chin-nung, a native of Huo-ch'iu, Anhwei, had the style name Po-chien and the late sobriquet Ching-che. A famed scholar in the humanities and calligrapher, he was professor of Chinese in several universities domestically. His calligraphy was after that of the late Ming artist Ni Yuan-lu, his style having unusual rhythm and archaic elegance. The text of this work reads, “Spirit journey to a country of old, my emotions answer by mocking me, causing me to gray prematurely. Ching-che of Lung-p'o”. The tone of the brushwork is like that of a stormy sea, spirited and invigorated. The modulation in the lines is full of harmony and rhythm, revealing a unique and strong style characteristic of that of the elderly T'ai. This work was donated by T'ai I-chien.@#@@#@內容簡介（英文）@#@T’ai Ching-nung (style name Po-chien and late sobriquet Ching-che) was a native of Huo-ch’iu, Anhwei province. He was an important scholar of literature and history in Taiwan as well as a gifted calligrapher. He served as professor in the Chinese departments at numerous universities in the mainland and Taiwan. Whenever calligraphers take up the brush, they often add a special flair to their works to make them stand out as a mark of individual expression. In this horizontal hanging scroll, T’ai Ching-nung included special touches to the brushwork. For example, the two characters of the first line at the right (ku kuo 故國) are slightly compressed while the last brushstroke in the character for shen (神) in the second line is unusually elongated. The vertical stroke in character tsao (早) in the fourth line has also been extended somewhat. Finally, the last line, like the first, includes only two characters, making this work look almost more like a painting than a piece of calligraphy. The brushwork here has the energy of a storm at sea, bearing the spirit and manner for which T’ai Ching-nung’s style was known in his later years. This work was donated to the National Palace Museum by Mr. T’ai Ching-nung.
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