Christie’s Ne🧜w Yo𓆏rk, Fine Chinese Paintings and Calligraphy, 15 September 1998, Lot 101

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來源：紐約佳士得，中國書畫，1998年9月15日，拍品編號101

1. The Leshan Tang Collection of Classical Chinese Painting and Calligraphy, Leshan Tang, Taipei, Ju💟ly 2006, pp. 102-103, 160

2. Please refer to the Chinese literature

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1. 〈樂山堂藏古代書畫〉(臺北，樂山堂，二〇〇六年七月)，頁102-103、160

2. 齊淵編〈八大山人編年圖目(上卷) 〉(北京，人民美術出版社，二〇〇六年)，頁80

Zhu Da, courtesy name Ren'an, and sobriquet Bada Shanren, Xuege, Geshan, Renwu, Daolang,was named Chuanqi when he become a Buddhist monk. He was born in Nanchang, Jiangxi. He was the ninth-generation descendant of Zhu Quan, the seventeenth son of the Ming dynasty founder Zhu Yuanzhang. After the downfall of the Ming dynasty, he became a monk but later returned𒅌 to secular life. His calligraphy combines a composed style, tranquility, boldness, and enduring elegance.

Zhu's calligraphic styles evolved over time. Whether imitating Huang Shangu or Dong Wenmin, he left behind masterpieces. After returning to secular life in his middle age, his sharp style gradually became a unique one that greatly influenced later generations. Mr. Qigong aptly described his calligraphy as "an unprecedented style in the world". Around the age of sixty, his calligraphy matured, embodying his philosophy of "Simplicity leading to originality, and originality leads to authenticity". He skillfully integrated the distinctive centered (Zhong Feng) and round strokes of large characters into wild cursive and small running scripts, breaking aw🌊ay from the uniform and elegant patterns in his earlier stage. He also reorganized the brush strokes and styles after dissembling them. While at times it exhibited excessive slippery and occasional disorderliness, or overly sharpness and inadequate smoothness, this laid the foundation for his unique style. Around the age of sixty-five, Bada Shanren devoted himself to seal script and stone drum inscriptions, and hꦐis style became more rounded and powerful. This work was created in the year of Guiyou (1693) when he was sixty-eight years old. Apart from the recognizable rounded and centered strokes, it contains the sharpness and supple strength of Huang Shangu and Dong Wenmin's brushwork, mixing various styles to create a new look. It is evident that he emphasized structure, integrating the brushwork of cursive script and semi-cursive script into running scripts to create a sense of contradiction. However, his unique style smooths out this contradiction, presenting a unified, meticulous, yet expansive appearance that demonstrates his viewpoint of "calligraphy-painting".

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註：朱耷，字刃庵，號八大山人、雪🌺个、个山、人屋、道朗等😼，出家時名傳綮，江西南昌人。明太祖朱元璋第十七子朱權的九世孫，明亡後削髮為僧，後還俗。筆墨凝煉沉毅，風格雄奇雋永，有靜穆之趣，得疏曠之韻。

朱耷的書法自早至晚有多種風貌，不論仿黃山谷、習董文敏等皆有傳世之作，中年還俗後自刻削的尖銳挺拔逐漸演變至傳世影響深遠的獨特書風，啟功先生所形容「此是人間未見書」最為貼切。八大山人至六十歲初期，書風逐漸成熟，履行其「愈簡愈元，愈元愈真」的哲理，將大字中標誌性的中鋒圓筆融入狂草及小字行書中，打破初期均勻、雅致的格局，對書法、行氣作拆解重組，雖時有過於浮滑、行氣略顯雜亂，有時過於尖銳、不夠流暢，卻也為獨特的書風打下基礎。至六十五歲左右，八大山人曾用心於篆書、石鼓，故而書風變更趨於圓勁。本幅書於癸酉(1693)，八大山人時年六十八歲，除標誌性的圓禿筆外，✃參有黃山谷、董文敏筆意，潤勁中帶有尖銳，雜揉各家於一身並造出新貌，並可見其著重於結構，將章草、草書的筆法至於行書之中，創造出讀寫上的矛盾感，卻因其孤高獨特的書風得到潤滑，展現統一面貌及其「書法兼之畫法」的觀🌸點，筆墨精到，高曠縱橫。