張芝《冠軍帖》賞析

《冠軍帖》又稱《知汝帖》，東漢，張芝（傳），草書，該帖刻本刊於北宋《淳化閣帖》，時刻者書“後漢張芝”。

《冠軍帖》有縱橫氣勢，用筆淋漓酣暢，使轉法度嚴謹，線條飄逸而純正。
疾馳中筆法奇詭多變，回轉勾連、舒卷各得其宜。字勢奇崛，振人心神。
點畫起止分明，收放有度，點畫處的“實”與牽絲的“虛”相得益彰。
圓轉的筆調多，弧度多變，交錯包含。
《冠軍帖》為作者激情時的手札，線條剛柔相濟，方圓曲直收展盡妙，蕭灑飄逸；用筆如飛，風馳雲湧，氣勢非凡；字形變化多姿，虛實相生，神采飛揚，豪放典雅。

東漢是中國書法發展史上輝煌燦爛的時期，隸書在東漢發展到了頂峰，楷書、行書、章草和今草也基本形成，但東漢時期並沒有出現成熟的狂草書，到晉王獻之獨創“破體”和“一筆書”，打破字和字及行與之間的關系，才形成了狂草書。故此，數百年來眾多學者認為《冠軍帖》非張芝所書。作者眾說紛紜，至今未有定論。

張芝（？—約192年），字伯英，敦煌郡淵泉（今屬甘肅酒泉市）人，生年不詳。東漢書法家，涼州三明之一、大司農張奐之子。
張芝書法學崔瑗、杜度，變其法度，省減“章草”的點畫波磔，創立“今草”，有青出於藍的美譽，被後人推為“草聖”。
張懷瓘在《書斷》對張芝的評斷曰：“尤善章草書，生諸杜度、崔璦。龍豹變，青出於藍。又創於今草，天縱穎異。學崔、杜之法，因而變之，以成今草，轉精其妙。字之體勢，一筆而成，偶有不連，而血脈不斷，及其連者，氣脈通於隔行。”
晉代王羲之稱：“鍾（繇）、張（芝）而外，其余不足觀。”
今已無其墨跡傳世，僅北宋《淳化閣帖》中收有他的《八月帖》等刻帖。

本季的筆墨見真章，照例地，策展人依書法從古到今發展的歷程，為觀眾挑選了多件不同時代的名家精品（展件清單請看這 👉https://theme.npm.edu.tw/exh…/calligraphy10907/…/page-3.html），期待您蒞臨欣賞。
今天和大家一同來看一件可能是米芾(1052-1108) 臨仿之作的【傳晉 王羲之 大道帖】
【The Great Dao Inscription】Attributed to Wang Xizhi (303-361), Jin dynasty
🔽書法析賞：
　　此帖行草書兩行：「大道久不下，豈先未然耶。」拖尾有趙孟頫（1254-1322）至元丁亥年（1287）跋：「龍跳天門，虎臥鳳閣。」此帖筆畫腴潤圓柔，第一行「大」字到「下」字，連筆而書，最後一字「耶」的末筆拉長，收筆加粗，成彎弧狀。由於王羲之（303-361）沒有這類書法風格的作品 傳世，故多數論者認為可能是米芾（1052-1108）的臨仿之作。
🔽 This inscription comprises two lines written in cursive script (also called "grass script," from caoshu). The first reads, "The Great Way has not descended for some time, how were things not this way before?" Additional paper later attached to the scroll contains a calligraphic colophon written by Zhao Mengfu (1254-1322) in the Dinghai year of the Yuan dynasty (1287), which compares Wang's brushwork to a "dragon leaping through Heavens' Gate or a tiger lying at Phoenix Pavilion."
The brushstrokes in Wang's inscription are ample and rounded. In the first line, all of the characters—from the first one, "great," to the last one, "descended"—were written in a single flourish. The final brushstroke in the ultimate character, an exclamation pronounced " ye," was incredibly drawn-out, and then thickened at its tail end before turning in an arc. Because there are no other extant works by Wang Xizhi in this style, most theorists posit that it is likely a study of Wang's work by Mi Fei (1052-1108).
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🌐中文：https://theme.npm.edu.tw/exh109/calligraphy10907/index.html
🌐English: https://theme.npm.edu.tw/exh…/calligraphy10907/…/page-1.html
🌐日本語：https://theme.npm.edu.tw/exh…/calligraphy10907/…/page-1.html

本季的筆墨見真章，照例地，策展人依書法從古到今發展的歷程，為觀眾挑選了多件不同時代的名家精品（展件清單請看這 👉https://theme.npm.edu.tw/exh109/calligraphy10907/ch/page-3.html），期待您蒞臨欣賞。
今天和大家一同來看一件可能是米芾(1052-1108) 臨仿之作的【傳晉 王羲之 大道帖】
【The Great Dao Inscription】Attributed to Wang Xizhi (303-361), Jin dynasty
🔽書法析賞：
　　此帖行草書兩行：「大道久不下，豈先未然耶。」拖尾有趙孟頫（1254-1322）至元丁亥年（1287）跋：「龍跳天門，虎臥鳳閣。」此帖筆畫腴潤圓柔，第一行「大」字到「下」字，連筆而書，最後一字「耶」的末筆拉長，收筆加粗，成彎弧狀。由於王羲之（303-361）沒有這類書法風格的作品 傳世，故多數論者認為可能是米芾（1052-1108）的臨仿之作。
🔽 This inscription comprises two lines written in cursive script (also called "grass script," from caoshu). The first reads, "The Great Way has not descended for some time, how were things not this way before?" Additional paper later attached to the scroll contains a calligraphic colophon written by Zhao Mengfu (1254-1322) in the Dinghai year of the Yuan dynasty (1287), which compares Wang's brushwork to a "dragon leaping through Heavens' Gate or a tiger lying at Phoenix Pavilion."
The brushstrokes in Wang's inscription are ample and rounded. In the first line, all of the characters—from the first one, "great," to the last one, "descended"—were written in a single flourish. The final brushstroke in the ultimate character, an exclamation pronounced " ye," was incredibly drawn-out, and then thickened at its tail end before turning in an arc. Because there are no other extant works by Wang Xizhi in this style, most theorists posit that it is likely a study of Wang's work by Mi Fei (1052-1108).
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🌐中文：https://theme.npm.edu.tw/exh109/calligraphy10907/index.html
🌐English: https://theme.npm.edu.tw/exh109/calligraphy10907/en/page-1.html
🌐日本語：https://theme.npm.edu.tw/exh109/calligraphy10907/jp/page-1.html