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A Chinese calligraphy of excerpt from Sun Guoting: Shu Pu 'Treatise on Calligraphy', 20th century 二十
英国
05月13日 下午5点 开拍 /8天21小时
拍品描述 翻译
世紀 孫過庭 書譜 The text on this pair of scrolls is an excerpt from one of the most famous treatises on calligraphy in Chinese history: the ‘Shu Pu’ (Treatise on Calligraphy) written by Sun Guoting (646-691 AD), a famous calligrapher and scholar during the early Tang Dynasty. The scrolls are written in the bold and fluid 'Xingshu' running script, and they are read from top to bottom and from right to left, starting with the right scroll: Right Scroll 事評者云 彼之四賢古, 今特絕而今不逮古古質 (Shi ping zhe yun bi zhi Si Xian, gu jin te jue, er jin bu dai gu, gu zhi...) Critics say: The Four Sages are unparalleled. The present-day cannot match the ancients, as ancient simplicity... Left Scroll 而今姸。夫質以代興,姸因俗易。雖書契之作,適 (Er jin yan, Fu zhi yi dai xing, yan yin su yi, Sui shu qi zhi zuo, shi...) ...is gone, and [calligraphy] today is ornate. Nowadays, simplicity and ornament alternate with each age and elegance changes according to the trends of the time. Although the creation of writing was intended... Dimensions:132cm x 32cm (each)Provenance:From the collection of Sir James Haldane Stewart Lockhart (1858- 1937), acquired in Weihaiwei between 1902 and 1921; Gifted to his daughter, Mary Stewart Lockhart (1894-1985); Presented by the above (then Mrs Betty Joel) to Watson College, Edinburgh in 1967; On loan to the National Museums of Scotland from 2003-2025; Private collection, London 來源:駱克爵士(1858-1937)珍藏,於 1902 至 1921 年間購於威海衛;由其女 瑪麗·斯圖爾特·駱克(Mary Stewart Lockhart,1894-1985,即後來的貝蒂·喬爾夫人 Mrs Betty Joel)繼承;1967 年由上述藏家贈予愛丁堡沃特森學院;2003 至 2025 年間長期借展予蘇格蘭國家博物館;倫敦私人珍藏 Notes: From the collection of Sir James Haldane Stewart Lockhart, British Commissioner of Weihaiwei, 1902-1921 In this passage, Sun Guoting is discussing a classic and ongoing debate in art at that time: Simplicity (Zhi) vs. Ornamentation (Yan). The ‘Four Sages’: Sun here references the four greatest calligraphers who came before him: Zhang Zhi, Zhong Yao, Wang Xizhi and Wang Xianzhi. Sun Guoting argues in his work that people who complain modern art isn't as good as the classics are missing the point. He believes that every era has its own style and the ancients favoured a raw substantial simplicity, while Sun’s ‘modern’ era favoured refined beauty. Sun suggests that neither style is inherently better; they are simply reflections of their respective times. Bringing this forward this to the early 20th century when the (anonymous) calligrapher brushed these characters, one can equate this sentiment to the then-tumultuous events in China, in effect stating that one has to move with the times. 本幅作品節錄自唐代書法理論名著——孫過庭《書譜》。文中深刻探討了藝術史上歷久彌新的核心議題:「質」與「妍」(質樸與妍美)之辨。孫氏於文中援引「書家四賢」——張芝、鍾繇、王羲之及王獻之,以此四位大師之風格演變,梳理書法審美之遞嬗。孫過庭主張,世人往往厚古薄今,實則未洞察藝術發展之本質。他認為每一時代皆有其獨特氣候:古人崇尚原始、雄渾的「質」,而其身處的「現代」(唐代)則偏好精緻、華美的「妍」。孫氏斷言,兩者並無絕對優劣之分,僅為時代精神之反映。將此論點置於本件作品創作的二十世紀初,其意義尤為深遠。當時中國正處於社會劇烈動盪、新舊交替之際。此書跡不僅是對古典理論的臨摹,更似一種對時代命運的隱喻:「文質遞變,與時俱進」。書法家藉由孫過庭的語彙,表達了在動盪時局中,文化必須隨時代更迭而演化、與時代共振的堅定立場。

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