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

#今天繼續零確診✌️⭕️⭕️⭕️⭕️
古畫的發展就像一部精彩的交響樂章，藉著人物、花鳥、山水，不停地在歷史的脈絡中變奏著。本季的「筆歌墨舞—故宮繪畫導賞」策展人特別挑選了不同時代不同主題的繪畫佳作，呈現給所有的藝術愛好者，第一件先來看非常長的長卷鉅作【唐 楊昇 畫山水, Landscape】(30.3 x 184.2 cm)。
而這件作品之所以進入清宮，和嘉慶皇帝即位後，一連串查辦貪污官員，沒收他們的家產有關。
延伸閱讀 👉嘉慶皇帝的書畫收藏 https://www.grb.gov.tw/search/planDetail?id=3103065
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#筆歌墨舞—故宮繪畫導賞（展期：2020/04/08 ~ 07/05）
陳列室：北部院區　第一展覽區　210
Pictorial Songs of the Brush: A Guide to Paintings in the National Palace Museum Collection
Dates: 08 April 2020 ~ 05 July 2020
Gallery: 210 (Northern Branch) Exhibition Area I
https://theme.npm.edu.tw/exh109/PictorialSongs/index.html
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畫作賞析：
　　本幅所用絹地甚粗，山石的造型與院藏傳張僧繇〈雪山紅樹圖〉相似，都作對稱的圓弧形或古拙的錐形。兼用勾勒與青綠重設色法，樹石、屋宇格式化，富於裝飾性。卷後題跋將此歸為唐代畫家楊昇的「抹（沒）骨法」的表現。
　　在晚明以前畫史記載中，唐代畫家楊昇與南朝梁畫家張僧繇一樣，都是擅長人物或肖像的畫家，直到晚明才出現「沒骨山水」的記載，為晚明畫家對早期山水的揣摩之作。
從卷上嘉慶內府鑑藏印與陳淮收藏印記判斷，應為陳氏抄家之物。
　　The silk used here is very coarse, and the rock formations similar those in “Snowy Mountains and Red Trees” attributed to Zhang Sengyu (fl. 1st half of 6th c.) in the Museum collection: both use archaic symmetrically rounded conical shapes. Outlining is done with heavy “blue-and-green” coloring, while trees and rocks with the buildings appear formulaic yet create a decorative effect. The colophon places this in the “boneless method” of the Tang painter Yang Sheng. In painting histories before the middle Ming (1368-1644), Yang Sheng and Zhang Sengyu both are said to have specialized in figure and portrait painting. It was not until the late Ming that records of “boneless landscapes” appeared, suggesting this is a late Ming re-creation of an early manner.