- 597
惲壽平 1633-1690
估價
20,000 - 30,000 USD
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招標截止
描述
- Yun Shouping
- 臨晉唐法帖
- 水墨綾本 四十二開冊
款識：
（一）吾鄉唐雲客先生舊藏宋榻十三行，余嘗借臨。其後有董文敏跋，真希世之寶無言之師也！其結字一字一境界，踈密攢捉處又雋宕又沉著，一點一畫皆有意趣。所謂藏鋒裹鐵，奇而反正，不虛也！文敏楷法深得子敬十三行神髓，故能出文祝諸公之上，乃知學楷書定當從此入門，不宜更就他塗耳。
戊申（1668）夏五昆陵惲壽平識。
（二）禊帖以定武本為最，予未得佳本。然潁上本故佳，儻能臨寫千卷，亦未必無得力處也。
（三）閣帖所收衛夫人書或疑非真本。
（四）在高雲小閣銷夏，戲臨藏帖數種，媿非筆精，殊無腕鬼畫沙印泥執筆。
題跋：
惲正叔臨晉唐帖絹本上冊：
孫權宣示表六頁
子敬十三行十三頁
鍾繇季直表五頁
立命表四頁
共二十八頁，八百三十三字。
惲正叔臨晉唐帖絹本下冊：
褚摹蘭亭八頁
曹娥碑三頁
王獻之帖七頁
衛夫人書四頁
顏魯公爭座位帖四頁
韓退之書二頁
柳博士書二頁
南田自跋二頁
共三十二頁，七百三十六字。
（許）昔吾杭金氏刊甌香館帖采擷極備，惜未得見此二冊，誠憾事也。建卿寶之當有吉祥雲護其上。
錢塘許乃普觀并記。
（許）彭壽侍觀并臨一過。
鈐印：
（惲）爾蓭、惲格、壽平（二鈐）、惲格、正叔、東園
（許）臣許乃普、滇生
（許）仁山
（一）吾鄉唐雲客先生舊藏宋榻十三行，余嘗借臨。其後有董文敏跋，真希世之寶無言之師也！其結字一字一境界，踈密攢捉處又雋宕又沉著，一點一畫皆有意趣。所謂藏鋒裹鐵，奇而反正，不虛也！文敏楷法深得子敬十三行神髓，故能出文祝諸公之上，乃知學楷書定當從此入門，不宜更就他塗耳。
戊申（1668）夏五昆陵惲壽平識。
（二）禊帖以定武本為最，予未得佳本。然潁上本故佳，儻能臨寫千卷，亦未必無得力處也。
（三）閣帖所收衛夫人書或疑非真本。
（四）在高雲小閣銷夏，戲臨藏帖數種，媿非筆精，殊無腕鬼畫沙印泥執筆。
題跋：
惲正叔臨晉唐帖絹本上冊：
孫權宣示表六頁
子敬十三行十三頁
鍾繇季直表五頁
立命表四頁
共二十八頁，八百三十三字。
惲正叔臨晉唐帖絹本下冊：
褚摹蘭亭八頁
曹娥碑三頁
王獻之帖七頁
衛夫人書四頁
顏魯公爭座位帖四頁
韓退之書二頁
柳博士書二頁
南田自跋二頁
共三十二頁，七百三十六字。
（許）昔吾杭金氏刊甌香館帖采擷極備，惜未得見此二冊，誠憾事也。建卿寶之當有吉祥雲護其上。
錢塘許乃普觀并記。
（許）彭壽侍觀并臨一過。
鈐印：
（惲）爾蓭、惲格、壽平（二鈐）、惲格、正叔、東園
（許）臣許乃普、滇生
（許）仁山
Condition
-Satin darkened from age.
-Considerable number of wormholes throughout the album, mainly on the mounting boarders.
-Minor stain spots throughout.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Artist's inscription:
1. My fellow townsman Mr. Tang Yunke owned a Song-dynasty rubbing of Thirteen Lines, which I borrowed to copy. It bore a postscript by Dong Wenmin. Truly a priceless treasure, it was like a teacher who taught without words! Each character was formed as a world unto itself. By turns sparse and dense, clustered and clenched, the calligraphy was as transcendent as it was collected and grounded. Every dot and every stroke had interest and favor. As (Dong) wrote, the calligraphy was“like a concealed blade and a hidden weapon” and “eccentric and yet orthodox”-- indeed! In his standard-script calligraphy, Wenmin captured the spirit and marrow of Zijing’s Thirteen Lines, and thus managed to surpass masters like Wen Zhengming and Zhu Yunming. From this we know that anyone learning the standard script should begin with this piece and not suffer mere scrawlings by others.
2. The Dingwu inscription of the Preface to the Orchid Pavilion Anthology is the best, but I have not obtained a good rubbing of it. The Yingshang inscription is of course also excellent. If one can copy it for a thousand times, one can probably benefit from it.
3. Madam Wei’s piece collected in Model Calligraphies from the Imperial Archives of the Chunhua Era may not be authentic.
4. Whiling away the summer on the Pavilion of High Clouds, I playfully copied several model calligraphies in my collection. It is a shame that I am no brush virtuoso and have no devilish wrist to wield the brush as effortlessly as drawing in sand or stamping mud.
1. My fellow townsman Mr. Tang Yunke owned a Song-dynasty rubbing of Thirteen Lines, which I borrowed to copy. It bore a postscript by Dong Wenmin. Truly a priceless treasure, it was like a teacher who taught without words! Each character was formed as a world unto itself. By turns sparse and dense, clustered and clenched, the calligraphy was as transcendent as it was collected and grounded. Every dot and every stroke had interest and favor. As (Dong) wrote, the calligraphy was“like a concealed blade and a hidden weapon” and “eccentric and yet orthodox”-- indeed! In his standard-script calligraphy, Wenmin captured the spirit and marrow of Zijing’s Thirteen Lines, and thus managed to surpass masters like Wen Zhengming and Zhu Yunming. From this we know that anyone learning the standard script should begin with this piece and not suffer mere scrawlings by others.
2. The Dingwu inscription of the Preface to the Orchid Pavilion Anthology is the best, but I have not obtained a good rubbing of it. The Yingshang inscription is of course also excellent. If one can copy it for a thousand times, one can probably benefit from it.
3. Madam Wei’s piece collected in Model Calligraphies from the Imperial Archives of the Chunhua Era may not be authentic.
4. Whiling away the summer on the Pavilion of High Clouds, I playfully copied several model calligraphies in my collection. It is a shame that I am no brush virtuoso and have no devilish wrist to wield the brush as effortlessly as drawing in sand or stamping mud.