《九(jiu)成宮醴泉銘》是唐貞(zhen)觀六(liu)年(632)由魏征(zheng)撰文、書(shu)法(fa)(fa)家歐陽(yang)詢書(shu)丹而(er)成的楷書(shu)書(shu)法(fa)(fa)作品(碑刻(ke)者不可(ke)考(kao))。現存于陜西麟游縣碑亭景(jing)區。
《九成宮(gong)(gong)醴泉銘》敘述了“九成宮(gong)(gong)”的來歷和其建筑的雄偉(wei)壯觀,歌頌(song)了唐太宗的武功文治和節儉精神,介紹了宮(gong)(gong)城內發現(xian)醴泉的經(jing)過,并刊引典籍說明醴泉的出現(xian)是(shi)由于“天子令德”所致,最后(hou)提出“居高思墜(zhui),持滿(man)戒(jie)盈”的諫諍(zheng)之言。
《九成宮醴泉銘》結(jie)體修長(chang),中宮收緊,四(si)邊開(kai)張,左斂右縱,化險為夷。字(zi)形隨勢賦形,左右結(jie)構作相背(bei)之(zhi)勢,上下結(jie)構上窄下寬,間(jian)架開(kai)闊穩定,氣(qi)象莊(zhuang)嚴(yan)。其(qi)布(bu)白勻整,字(zi)距、行距疏朗,為九宮最準(zhun)者,全碑血脈(mo)暢(chang)通,氣(qi)韻蕭(xiao)然。
《九成(cheng)宮醴泉(quan)銘》是歐(ou)陽(yang)詢晚年經(jing)意之作,歷來為學(xue)書(shu)者(zhe)推崇,視為楷書(shu)正宗,被后(hou)世譽為“天下(xia)第一楷書(shu)”或“天下(xia)第一正書(shu)”。
秘書監檢校(xiao)侍(shi)中鉅鹿郡公臣(chen)魏徵奉(feng)敕撰
維貞(zhen)觀(guan)(guan)六(liu)年(nian)孟夏之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)月,皇(huang)帝(di)避暑(shu)乎九成之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)宮,此則(ze)隋(sui)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)仁壽(shou)宮也(ye)(ye)。冠山抗殿(dian),絕壑為(wei)(wei)池,跨水架楹,分巖聳闕(que),高(gao)閣(ge)周建,長廊四(si)起,棟宇膠葛,臺(tai)榭參差(cha)。仰視則(ze)迢(tiao)遞百尋,下(xia)(xia)臨(lin)則(ze)崢嶸千仞,珠璧(bi)交映(ying),金碧相暉,照灼云(yun)霞,蔽虧日(ri)月。觀(guan)(guan)其(qi)(qi)移(yi)山回澗,窮泰(tai)極侈,以(yi)人從(cong)欲,良足(zu)深(shen)尤。至于(yu)(yu)炎景流(liu)金,無郁(yu)蒸之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)氣(qi),微風徐動,有凄清(qing)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)涼,信(xin)安(an)(an)體之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)佳所(suo)(suo),誠養神(shen)(shen)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)勝地(di),漢(han)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)甘泉(quan)(quan)不能尚(shang)也(ye)(ye)。皇(huang)帝(di)爰在(zai)弱冠,經(jing)營(ying)四(si)方(fang),逮乎立年(nian),撫臨(lin)億兆,始以(yi)武功(gong)壹海(hai)內,終(zhong)以(yi)文德懷遠人。東(dong)越青丘,南逾丹(dan)徼,皆獻(xian)琛奉贄,重(zhong)譯來王(wang),西暨(ji)輪(lun)臺(tai),北(bei)拒玄(xuan)闕(que),并地(di)列州縣,人充編戶。氣(qi)淑年(nian)和,邇安(an)(an)遠肅,群生咸(xian)遂,靈(ling)貺畢臻,雖藉二儀之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)功(gong),終(zhong)資一(yi)人之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)慮(lv)。遺(yi)身利物,櫛風沐雨,百姓為(wei)(wei)心(xin)(xin),憂勞(lao)成疾,同(tong)堯肌之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)如(ru)(ru)臘,甚(shen)(shen)禹足(zu)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)胼(pian)胝,針石(shi)屢加,腠理猶滯。爰居(ju)京室,每(mei)弊炎暑(shu),群下(xia)(xia)請建離宮,庶可(ke)怡(yi)神(shen)(shen)養性。圣上愛一(yi)夫之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)力(li),惜(xi)十家之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)產,深(shen)閉固(gu)拒,未肯俯(fu)從(cong)。以(yi)為(wei)(wei)隨氏舊宮,營(ying)于(yu)(yu)曩代,棄(qi)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)則(ze)可(ke)惜(xi),毀之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)則(ze)重(zhong)勞(lao),事(shi)貴(gui)因循,何必(bi)改作。于(yu)(yu)是(shi)斫雕為(wei)(wei)樸,損(sun)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)又損(sun),去其(qi)(qi)泰(tai)甚(shen)(shen),葺其(qi)(qi)頹(tui)壞,雜丹(dan)墀以(yi)沙礫,間粉(fen)壁以(yi)涂泥,玉砌接于(yu)(yu)土(tu)階(jie),茅茨續于(yu)(yu)瓊室。仰觀(guan)(guan)壯麗,可(ke)作鑒于(yu)(yu)既往(wang),俯(fu)察卑儉,足(zu)垂訓于(yu)(yu)后(hou)昆。此所(suo)(suo)謂至人無為(wei)(wei),大圣不作,彼竭其(qi)(qi)力(li),我享其(qi)(qi)功(gong)者(zhe)(zhe)也(ye)(ye)。然(ran)(ran)昔(xi)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)池沼,咸(xian)引谷澗,宮城之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)內,本乏水源(yuan),求(qiu)而無之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi),在(zai)乎一(yi)物,既非(fei)人力(li)所(suo)(suo)致,圣心(xin)(xin)懷之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)不忘。粵以(yi)四(si)月甲申朔旬(xun)有六(liu)日(ri)己亥,上及中(zhong)(zhong)宮,歷覽臺(tai)觀(guan)(guan),閑步西城之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)陰,躊躇高(gao)閣(ge)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)下(xia)(xia),俯(fu)察厥(jue)土(tu),微覺有潤,因而以(yi)杖導(dao)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi),有泉(quan)(quan)隨而涌出,乃承以(yi)石(shi)檻,引為(wei)(wei)一(yi)渠(qu)。其(qi)(qi)清(qing)若(ruo)鏡,味甘如(ru)(ru)醴(li)(li),南注丹(dan)霄之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)右,東(dong)流(liu)度于(yu)(yu)雙闕(que),貫穿(chuan)青瑣,縈帶紫(zi)房,激揚(yang)清(qing)波,滌(di)蕩瑕穢,可(ke)以(yi)導(dao)養正性,可(ke)以(yi)澄瑩心(xin)(xin)神(shen)(shen)。鑒映(ying)群形,潤生萬物,同(tong)湛恩之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)不竭,將玄(xuan)澤于(yu)(yu)常流(liu),匪唯乾象之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)精,蓋(gai)亦坤(kun)靈(ling)之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)寶。謹案:《禮緯》云(yun):王(wang)者(zhe)(zhe)刑殺當(dang)罪,賞(shang)錫當(dang)功(gong),得禮之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)宜,則(ze)醴(li)(li)泉(quan)(quan)出于(yu)(yu)闕(que)庭。《鹖(he)冠子(zi)》曰(yue):圣人之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)德,上及太(tai)清(qing),下(xia)(xia)及太(tai)寧,中(zhong)(zhong)及萬靈(ling),則(ze)醴(li)(li)泉(quan)(quan)出。《瑞應圖》曰(yue):王(wang)者(zhe)(zhe)純和,飲食不貢(gong)獻(xian),則(ze)醴(li)(li)泉(quan)(quan)出,飲之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)令人壽(shou)。《東(dong)觀(guan)(guan)漢(han)記》曰(yue):光武中(zhong)(zhong)元元年(nian),醴(li)(li)泉(quan)(quan)出京師(shi),飲之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)者(zhe)(zhe)痼疾皆愈。然(ran)(ran)則(ze)神(shen)(shen)物之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)來,寔扶明(ming)圣,既可(ke)蠲茲沉痼,又將延彼遐齡(ling)。是(shi)以(yi)百辟卿士(shi),相趨動色(se),我后(hou)固(gu)懷撝挹,推而弗有,雖休勿(wu)休,不徒聞(wen)于(yu)(yu)往(wang)昔(xi),以(yi)祥為(wei)(wei)懼(ju),實(shi)取驗于(yu)(yu)當(dang)今(jin)。斯(si)(si)乃上帝(di)玄(xuan)符,天子(zi)令德,豈臣之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)末學所(suo)(suo)能丕顯。但職(zhi)在(zai)記言,屬(shu)茲書事(shi),不可(ke)使(shi)國之(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)盛美,有遺(yi)典策(ce),敢(gan)陳實(shi)錄,爰勒斯(si)(si)銘。其(qi)(qi)詞曰(yue):
唯皇撫運,奄(yan)壹寰宇,千載(zai)膺期,萬(wan)物斯睹,功高大舜(shun),勤深伯禹,絕后承(cheng)前,登(deng)三(san)邁五。握機蹈矩(ju),乃圣乃神(shen),武克禍亂(luan),文懷遠人(ren),書契未紀(ji),開(kai)辟不(bu)臣,冠冕并(bing)襲(xi),琛贄咸陳。大道無(wu)名,上德(de)不(bu)德(de),玄功潛運,幾深莫測,鑿井(jing)而飲,耕田而食,靡謝天功,安知帝力。上天之(zhi)(zhi)載(zai),無(wu)臭(chou)無(wu)聲,萬(wan)類(lei)資始,品物流(liu)(liu)形,隨感變質,應德(de)效(xiao)靈(ling),介焉如響(xiang),赫赫明(ming)明(ming)。雜(za)沓景福,葳蕤繁祉,云氏龍官,龜圖(tu)鳳(feng)紀(ji),日含五色,烏呈三(san)趾,頌不(bu)輟(chuo)工(gong),筆無(wu)停史(shi)。上善降祥(xiang),上智(zhi)斯悅,流(liu)(liu)謙潤下,潺湲皎潔,萍旨醴甘,冰(bing)凝鏡澈,用之(zhi)(zhi)日新,挹之(zhi)(zhi)無(wu)竭。道隨時泰(tai),慶與泉流(liu)(liu),我后夕惕,雖休(xiu)弗休(xiu),居(ju)崇茅宇,樂不(bu)般(ban)游(you),黃屋非貴,天下為憂。人(ren)玩其華,我取其實,還淳反本,代文以質,居(ju)高思墜(zhui),持滿戒溢(yi),念茲在(zai)茲,永保貞吉(ji)。
兼太子率更(geng)令勃海男臣歐陽詢奉敕(chi)書(shu)。
唐(tang)貞觀(guan)(guan)五年(nian)(631),太(tai)宗(zong)皇(huang)帝李世民(min)命令修復隋文(wen)帝之(zhi)仁(ren)壽(shou)宮,后改(gai)名為(wei)(wei)(wei)九(jiu)(jiu)成宮。翌年(nian),太(tai)宗(zong)皇(huang)帝來(lai)到(dao)九(jiu)(jiu)成宮避暑,在(zai)游覽(lan)宮中臺觀(guan)(guan)之(zhi)時,偶然發現一清(qing)泉(quan),欣喜之(zhi)余,下(xia)令由魏徵撰文(wen),歐陽詢書(shu)寫,于貞觀(guan)(guan)六年(nian)(632)刻碑。按《唐(tang)書(shu)》:“貞觀(guan)(guan)中改(gai)隋仁(ren)壽(shou)官(guan)為(wei)(wei)(wei)九(jiu)(jiu)成宮,水(shui)徽中又改(gai)為(wei)(wei)(wei)萬年(nian)宮。宮在(zai)岐(qi)山(shan)(shan),開皇(huang)十三年(nian)楊素(su)所(suo)治。”九(jiu)(jiu)成宮乃(nai)隋之(zhi)仁(ren)壽(shou)宮也,魏為(wei)(wei)(wei)此(ci)銘,亦(yi)欲太(tai)宗(zong)以隋為(wei)(wei)(wei)戒(jie),可以見魏之(zhi)志也。《弇州(zhou)山(shan)(shan)人稿(gao)》載,魏征(zheng)文(wen)有箴規太(tai)宗(zong)之(zhi)意,故末(mo)云(yun):“居高(gao)思墜,持滿戒(jie)溢。”
歐陽詢(xun)(557—641),潭州臨湘(今(jin)湖南(nan)長(chang)沙)人(ren)(ren),字信本,唐(tang)代(dai)書(shu)法(fa)家(jia)、文學家(jia),“楷(kai)書(shu)四(si)(si)大(da)家(jia)”之一,與(yu)虞世(shi)南(nan)、褚遂良、薛(xue)稷并(bing)稱(cheng)為(wei)(wei)“唐(tang)初四(si)(si)大(da)家(jia)”,與(yu)虞世(shi)南(nan)并(bing)稱(cheng)“歐虞”。歐陽詢(xun)的書(shu)法(fa)造詣極高(gao),其楷(kai)書(shu)法(fa)度嚴謹(jin),正中(zhong)見(jian)險,骨氣勁(jing)峭,被稱(cheng)之為(wei)(wei)“唐(tang)人(ren)(ren)楷(kai)書(shu)第一”,后世(shi)稱(cheng)為(wei)(wei)“歐體”。其傳世(shi)碑(bei)(bei)刻有(you)《房彥(yan)謙碑(bei)(bei)》、《九成宮醴泉銘(ming)》、《皇甫誕碑(bei)(bei)》、《虞恭(gong)公碑(bei)(bei)》、《化度寺邕(yong)禪師塔(ta)銘(ming)》等;存世(shi)墨(mo)跡有(you)《夢(meng)奠帖(tie)(tie)》、《卜商帖(tie)(tie)》、《張翰帖(tie)(tie)》等;編著《藝文類聚》一百卷。
《九成宮(gong)醴泉銘》的(de)點(dian)畫(hua)風(feng)格主要有三個:瘦硬(ying)、秀麗、溫潤。這三者不(bu)是(shi)截然分開的(de),而是(shi)在(zai)一(yi)筆(bi)或一(yi)字之內同時(shi)表現出這些風(feng)格。
《九成宮醴泉銘》屬于瘦(shou)(shou)硬(ying)書風。它的點畫比瘦(shou)(shou)金體(ti)粗,比顏(yan)體(ti)字瘦(shou)(shou),在肥(fei)瘦(shou)(shou)方面處于適中的狀態。書法講求筆(bi)力,筆(bi)力通過“骨(gu)”來實現(xian)(xian)。太(tai)肥(fei)容易(yi)無骨(gu),太(tai)瘦(shou)(shou)骨(gu)易(yi)“折斷”,肥(fei)瘦(shou)(shou)適中、骨(gu)肉(rou)勻(yun)稱對于表現(xian)(xian)筆(bi)力較為適合。
如(ru)果說(shuo)(shuo)瘦硬指《九(jiu)成(cheng)(cheng)宮醴泉銘》點(dian)(dian)畫的陽(yang)剛之(zhi)(zhi)美(mei),那(nei)么,秀麗則(ze)是(shi)(shi)(shi)形(xing)容它的陰柔(rou)之(zhi)(zhi)美(mei)。《九(jiu)成(cheng)(cheng)宮醴泉銘》的秀麗主要體(ti)現(xian)在圓筆(bi)和(he)(he)修長的筆(bi)畫中(zhong)(zhong)。例如(ru),“公(gong)”字(zi)的第(di)(di)二、第(di)(di)五兩(liang)點(dian)(dian),不(bu)是(shi)(shi)(shi)一味地剛狠,而(er)是(shi)(shi)(shi)方圓兼備,給(gei)人(ren)以溫厚(hou)含蓄之(zhi)(zhi)感。“公(gong)”字(zi)的其他(ta)三點(dian)(dian)則(ze)呈三角形(xing),有(you)棱有(you)角,英氣逼人(ren)。但由于第(di)(di)二、第(di)(di)五兩(liang)筆(bi)的中(zhong)(zhong)和(he)(he)作(zuo)用,整(zheng)個字(zi)就不(bu)至(zhi)于悍厲(li)和(he)(he)粗(cu)獷。修長的筆(bi)畫特別是(shi)(shi)(shi)長撇、長捺容易(yi)產生秀色,這(zhe)一點(dian)(dian)甚(shen)至(zhi)在雄強、粗(cu)獷的龍(long)門四品(pin)中(zhong)(zhong)也能得(de)到體(ti)現(xian)。在《九(jiu)成(cheng)(cheng)宮醴泉銘》中(zhong)(zhong),“暑”字(zi)的長撇,起筆(bi)半(ban)藏鋒,帶有(you)一定(ding)的弧度,方圓兼備,筆(bi)勢綿延,猶如(ru)武(wu)士刀,給(gei)人(ren)一種(zhong)婉轉(zhuan)秀美(mei)、剛柔(rou)相濟的美(mei)感。《九(jiu)成(cheng)(cheng)宮醴泉銘》的點(dian)(dian)畫雖然兼具剛柔(rou),但相比來說(shuo)(shuo),剛的成(cheng)(cheng)分多一些。它是(shi)(shi)(shi)中(zhong)(zhong)和(he)(he)書風(feng)中(zhong)(zhong)略微偏陽(yang)剛之(zhi)(zhi)美(mei)的那(nei)種(zhong),這(zhe)一點(dian)(dian)劉熙載曾(ceng)有(you)論述。劉熙載說(shuo)(shuo)“善(shan)學歐(ou)者(zhe)威而(er)不(bu)猛”,這(zhe)是(shi)(shi)(shi)說(shuo)(shuo)歐(ou)楷屬于中(zhong)(zhong)和(he)(he)之(zhi)(zhi)美(mei);又說(shuo)(shuo)“歐(ou)之(zhi)(zhi)為鷹隼易(yi)知”,這(zhe)是(shi)(shi)(shi)說(shuo)(shuo)歐(ou)楷偏于陽(yang)剛之(zhi)(zhi)美(mei)。
《九成(cheng)宮醴(li)泉(quan)銘(ming)》的(de)(de)溫潤(run)(run)是溫厚(hou)且潤(run)(run)。溫厚(hou)是圓筆或藏鋒造(zao)成(cheng)的(de)(de)藝術效果,潤(run)(run)是指墨(mo)法(fa)。晉唐基(ji)本(ben)(ben)用濃(nong)墨(mo),因為黑白(bai)(bai)對比(bi)強烈,所以實用性最強。墨(mo)太濃(nong)則(ze)筆滯(zhi),按(an)筆處(chu)易現臃(yong)腫,所以要加適量的(de)(de)水,造(zao)成(cheng)濃(nong)而潤(run)(run)的(de)(de)效果——既不(bu)(bu)臃(yong)腫,也(ye)不(bu)(bu)漫漶。現見到(dao)的(de)(de)《九成(cheng)宮醴(li)泉(quan)銘(ming)》一般都(dou)是拓(tuo)本(ben)(ben),黑底白(bai)(bai)字,其實看不(bu)(bu)出用墨(mo)的(de)(de)濃(nong)淡燥潤(run)(run)。但根(gen)據當時的(de)(de)用墨(mo)情況,再加上欣賞者(zhe)的(de)(de)想象(xiang)活(huo)動,點畫(hua)的(de)(de)濃(nong)潤(run)(run)很容易感受(shou)得到(dao)。
《九成(cheng)(cheng)宮(gong)(gong)醴(li)泉(quan)銘》結(jie)字(zi)(zi)的(de)(de)(de)(de)第(di)一(yi)個(ge)特點是(shi)(shi)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng),平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)與(yu)端莊意思差不(bu)(bu)多,是(shi)(shi)篆(zhuan)書(shu)、隸(li)書(shu)、楷(kai)書(shu)等靜態書(shu)體的(de)(de)(de)(de)共同(tong)特點。孫過(guo)庭《書(shu)譜》云:“初(chu)學分(fen)布,但(dan)求(qiu)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng);既(ji)(ji)知平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng),務追險(xian)絕;既(ji)(ji)能(neng)險(xian)絕,復(fu)歸平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)。”《九成(cheng)(cheng)宮(gong)(gong)醴(li)泉(quan)銘》有平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)的(de)(de)(de)(de)特點,但(dan)它的(de)(de)(de)(de)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)不(bu)(bu)是(shi)(shi)“初(chu)學分(fen)布”意義上(shang)的(de)(de)(de)(de)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng),而(er)是(shi)(shi)“既(ji)(ji)能(neng)險(xian)絕”之(zhi)(zhi)后的(de)(de)(de)(de)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng),即平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)與(yu)險(xian)絕的(de)(de)(de)(de)統一(yi)。這又(you)分(fen)為兩(liang)(liang)(liang)種情況:正(zheng)(zheng)(zheng)(zheng)中(zhong)含奇(qi)和奇(qi)不(bu)(bu)失正(zheng)(zheng)(zheng)(zheng)。例(li)(li)如《九成(cheng)(cheng)宮(gong)(gong)醴(li)泉(quan)銘》中(zhong)的(de)(de)(de)(de)兩(liang)(liang)(liang)個(ge)“飲”字(zi)(zi)。在左邊(bian)的(de)(de)(de)(de)“飲”中(zhong),“欠(qian)(qian)”的(de)(de)(de)(de)最后一(yi)筆(bi)寫(xie)成(cheng)(cheng)了反(fan)捺,與(yu)撇畫(hua)距離稍遠,從而(er)將(jiang)欹(yi)側之(zhi)(zhi)勢拉正(zheng)(zheng)(zheng)(zheng)。在右(you)邊(bian)的(de)(de)(de)(de)“飲”中(zhong),“欠(qian)(qian)”的(de)(de)(de)(de)最后一(yi)筆(bi)寫(xie)成(cheng)(cheng)了直(zhi)捺,因(yin)其“重量(liang)”較大(da),與(yu)撇畫(hua)相接(jie)就能(neng)保證正(zheng)(zheng)(zheng)(zheng)勢。這兩(liang)(liang)(liang)個(ge)字(zi)(zi)中(zhong),“食”都是(shi)(shi)正(zheng)(zheng)(zheng)(zheng)的(de)(de)(de)(de),“欠(qian)(qian)”都呈左傾之(zhi)(zhi)勢,整個(ge)字(zi)(zi)平(ping)(ping)(ping)(ping)(ping)正(zheng)(zheng)(zheng)(zheng)而(er)不(bu)(bu)失活潑(po),這是(shi)(shi)正(zheng)(zheng)(zheng)(zheng)中(zhong)含奇(qi)的(de)(de)(de)(de)兩(liang)(liang)(liang)個(ge)字(zi)(zi)例(li)(li)。再如“武”字(zi)(zi),戈(ge)鉤與(yu)右(you)上(shang)的(de)(de)(de)(de)打(da)點造成(cheng)(cheng)左傾之(zhi)(zhi)勢,但(dan)左邊(bian)的(de)(de)(de)(de)三橫(heng)左低(di)右(you)高,撐(cheng)住了這種險(xian)情;同(tong)時,“止”的(de)(de)(de)(de)短橫(heng)不(bu)(bu)是(shi)(shi)右(you)昂,而(er)是(shi)(shi)向右(you)下頓,又(you)在一(yi)定(ding)程度上(shang)撥正(zheng)(zheng)(zheng)(zheng)了三橫(heng)的(de)(de)(de)(de)斜(xie)勢;所以,整個(ge)字(zi)(zi)構(gou)成(cheng)(cheng)了奇(qi)中(zhong)求(qiu)正(zheng)(zheng)(zheng)(zheng)的(de)(de)(de)(de)典范。又(you)如“分(fen)”字(zi)(zi),每一(yi)筆(bi)都是(shi)(shi)斜(xie)的(de)(de)(de)(de),但(dan)整個(ge)字(zi)(zi)卻顯(xian)得很正(zheng)(zheng)(zheng)(zheng),這也是(shi)(shi)險(xian)中(zhong)求(qiu)穩的(de)(de)(de)(de)結(jie)體。
《九(jiu)成(cheng)(cheng)宮(gong)醴(li)泉銘(ming)》結字(zi)的(de)第二個特點是(shi)緊(jin)(jin)結,即內(nei)緊(jin)(jin)外松(song)或(huo)內(nei)密外疏。筆(bi)(bi)畫往中(zhong)宮(gong)靠攏(long),向(xiang)四周放射(she),也稱為輻射(she)性結體(ti)。《九(jiu)成(cheng)(cheng)宮(gong)醴(li)泉銘(ming)》中(zhong)的(de)“叅”“成(cheng)(cheng)”等(deng)(deng)字(zi)是(shi)緊(jin)(jin)結風格的(de)代(dai)表。“叅”字(zi)的(de)撇、捺、豎(shu)等(deng)(deng)筆(bi)(bi)畫都非常明顯地往中(zhong)宮(gong)簇(cu)擁,而撇、捺又八字(zi)分(fen)散,顯得很舒展。“成(cheng)(cheng)”字(zi)的(de)短橫、橫折鉤、戈鉤和(he)(he)最后一點也是(shi)往中(zhong)心聚攏(long),而戈鉤修長(chang),向(xiang)左上和(he)(he)右下輻射(she),緊(jin)(jin)結給人以挺(ting)拔、舒展之感(gan)。此外,《九(jiu)成(cheng)(cheng)宮(gong)醴(li)泉銘(ming)》的(de)豎(shu)筆(bi)(bi)一般呈背勢,更增(zeng)添了字(zi)的(de)挺(ting)拔之感(gan)。
《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》結字(zi)的(de)第三個特點(dian)是(shi)(shi)(shi)縱長(chang)。《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》多(duo)取(qu)背勢,這(zhe)是(shi)(shi)(shi)隸意(yi)(yi)(yi)的(de)一(yi)種體現。因為帶(dai)有(you)隸意(yi)(yi)(yi),所以《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》具有(you)高古的(de)特點(dian)。但事(shi)實(shi)上,《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》不僅帶(dai)有(you)隸意(yi)(yi)(yi),還帶(dai)有(you)篆(zhuan)(zhuan)意(yi)(yi)(yi),這(zhe)里的(de)篆(zhuan)(zhuan)意(yi)(yi)(yi)指的(de)是(shi)(shi)(shi)小(xiao)篆(zhuan)(zhuan)的(de)筆(bi)意(yi)(yi)(yi)。它(ta)有(you)多(duo)種表(biao)現,例如(ru)全用中鋒(feng)、圓起(qi)圓收、粗細一(yi)致、使轉處為圓轉、結體多(duo)向勢、字(zi)形(xing)修長(chang)等等。《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》的(de)篆(zhuan)(zhuan)意(yi)(yi)(yi)主要體現在結體的(de)縱長(chang)上,歐陽詢(xun)將字(zi)形(xing)拉(la)長(chang),既是(shi)(shi)(shi)一(yi)種創新,又是(shi)(shi)(shi)一(yi)種復歸(gui)——向小(xiao)篆(zhuan)(zhuan)結體的(de)復歸(gui)。由于兼(jian)備篆(zhuan)(zhuan)隸筆(bi)意(yi)(yi)(yi),因此《九(jiu)(jiu)(jiu)成(cheng)宮(gong)醴泉(quan)銘(ming)(ming)》更增添(tian)了古意(yi)(yi)(yi)。
《九成(cheng)(cheng)宮醴(li)泉(quan)銘》是(shi)奉敕之作(zuo),為了(le)莊重(zhong)和嚴肅,必(bi)然會(hui)(hui)對碑石的大小、碑文的內容和字(zi)數(shu)等情況進(jin)行全(quan)面了(le)解,并打好界格(確定(ding)字(zi)的大小)。書(shu)丹前的這些準備工(gong)作(zuo)其(qi)實并不屬(shu)于(yu)章(zhang)法(fa),但會(hui)(hui)影(ying)響到章(zhang)法(fa)。它(ta)對章(zhang)法(fa)的直接(jie)影(ying)響就是(shi)行列問(wen)題。因為劃好了(le)方(fang)格,所以《九成(cheng)(cheng)宮醴(li)泉(quan)銘》必(bi)然是(shi)縱成(cheng)(cheng)行、橫(heng)成(cheng)(cheng)列,行距、字(zi)距的差別不會(hui)(hui)太(tai)大。又因為《九成(cheng)(cheng)宮醴(li)泉(quan)銘》結體修(xiu)長,所以造成(cheng)(cheng)行距略大于(yu)字(zi)距。
《九成宮醴泉(quan)銘(ming)》章法的(de)第二個(ge)特點是字(zi)(zi)形(xing)大小適(shi)中(zhong)(zhong)且一(yi)致。在方格中(zhong)(zhong)寫字(zi)(zi),“如(ru)果把(ba)字(zi)(zi)寫小了,盡管保持中(zhong)(zhong)正(zheng),卻(que)(que)會顯(xian)得(de)全篇空(kong)蕩(dang),如(ru)同(tong)一(yi)個(ge)瘦(shou)子(zi)穿著一(yi)件(jian)肥袍子(zi);如(ru)果把(ba)字(zi)(zi)寫大了,又(you)(you)會顯(xian)得(de)全篇擁擠,如(ru)同(tong)一(yi)個(ge)胖(pang)子(zi)穿著一(yi)件(jian)瘦(shou)襖”。因為字(zi)(zi)形(xing)大小適(shi)中(zhong)(zhong),所以《九成宮醴泉(quan)銘(ming)》顯(xian)得(de)疏朗開闊,卻(que)(que)又(you)(you)不至于空(kong)蕩(dang)似“溺水之禽”(王羲之語(yu))。
《九成(cheng)宮醴泉銘》章法的(de)(de)第三(san)個(ge)(ge)特點(dian)是每個(ge)(ge)字(zi)的(de)(de)體(ti)重基本相(xiang)等。字(zi)的(de)(de)“體(ti)重”是視覺(jue)上的(de)(de)重量感,并不是物理的(de)(de)重量。例(li)如上面(mian)的(de)(de)“詢”字(zi),左下(xia)方(fang)比(bi)較密,筆畫相(xiang)對細(xi)一(yi)(yi)些(xie)(xie)(xie),右(you)上方(fang)的(de)(de)“勹”筆畫相(xiang)對粗一(yi)(yi)些(xie)(xie)(xie),所以整個(ge)(ge)字(zi)并不讓人覺(jue)得重心失衡。就多個(ge)(ge)字(zi)來看,一(yi)(yi)般筆畫少(shao)的(de)(de)字(zi)要(yao)寫(xie)得粗一(yi)(yi)些(xie)(xie)(xie),筆畫多的(de)(de)字(zi)要(yao)寫(xie)得細(xi)一(yi)(yi)些(xie)(xie)(xie),這是為了保證它們的(de)(de)重量大致相(xiang)等。
有(you)行有(you)列、大(da)小適中且(qie)一致(zhi)、體重相(xiang)等可以說是(shi)《九成宮(gong)醴(li)泉(quan)銘(ming)》章法成功的(de)基礎。章法的(de)成功自然會使作(zuo)品產(chan)生神采的(de)美(mei)。神采雖然不能(neng)通過語言充分(fen)表達(da)出來(lai),但還是(shi)可以略微描(miao)述。第(di)一,《九成宮(gong)醴(li)泉(quan)銘(ming)》具有(you)儒雅的(de)氣(qi)息。儒雅與(yu)士氣(qi)、書卷氣(qi)相(xiang)當,這非有(you)深厚的(de)學識不能(neng)達(da)到。第(di)二(er),《九成宮(gong)醴(li)泉(quan)銘(ming)》具有(you)靜穆的(de)氣(qi)象(xiang)。楷(kai)書雖為靜態書體,但這并(bing)不能(neng)保證(zheng)氣(qi)象(xiang)的(de)靜穆,不少楷(kai)書作(zuo)品特別是(shi)現(xian)代作(zuo)品常(chang)常(chang)讓人覺得“火氣(qi)”很大(da)。因此(ci),靜穆主(zhu)要源(yuan)于(yu)人的(de)心靈(ling)修養(yang)。
宋(song)代釋(shi)居簡《北集》:“貞觀初(chu),歐、虞、褚、薛以王佐(zuo)才弄翰,追配二王,謹嚴瘦勁,歐陽絕出,流落天壤(rang)間者何限(xian),獨《化度寺》《醴泉銘》最為珍玩(wan)。習之者往往失其(qi)韻致(zhi),但貴端莊如木偶死于活處(chu),鮮不為吏(li)牘之歸,假(jia)刻誤人,人亦罕識。”
宋代朱長文《續書斷》:“(歐(ou)陽詢)杰出當(dang)世,顯名唐初,尺牘(du)所傳,人(ren)以(yi)為法(fa),雖(sui)戎狄亦慕(mu)其(qi)聲。然(ran)觀其(qi)少時,筆勢尚(shang)弱,今廬山有《西(xi)林道場碑(bei)》是(shi)也;及晚益(yi)壯,體力完備,奇巧間發,蓋由學(xue)以(yi)致(zhi)之,《九成宮碑(bei)》《溫大雅墓銘(ming)》是(shi)也。”
元代虞集(ji):“楷書(shu)之(zhi)盛,肇自(zi)李唐(tang)。若歐(ou)、虞、褚、薛,尤其著(zhu)者也。余(yu)謂歐(ou)公(gong)當為三家之(zhi)冠(guan),蓋其同得(de)右(you)軍運筆之(zhi)妙諦。觀此帖(《醴(li)泉銘》)結構(gou)謹嚴,風神遒(qiu)勁,于右(you)軍之(zhi)神氣(qi)骨力兩不相悖,實世之(zhi)珍(zhen)。但學《蘭亭(ting)》面而欲(yu)換凡骨者,曷其即此為金丹之(zhi)供(gong)?”
明代王(wang)世貞《弇州山人稿》:“趙子(zi)固以歐(ou)陽率更(geng)《化(hua)度(du)》《醴泉》為楷法第(di)一。雖不(bu)敢謂然(ran),然(ran)是率更(geng)碑中第(di)一。”又:“信本(ben)書太傷瘦儉,獨《醴泉銘》道(dao)勁之中不(bu)失婉潤,猶為合爾。”
明(ming)代陳繼儒《眉公全集》:“此帖如(ru)深山至人(ren),瘦硬清(qing)寒,而神氣充(chong)腴(yu)。能令王公屈膝,非(fei)他刻可方(fang)駕也。”
明代汪砢玉《珊瑚(hu)網》:“歐陽(yang)率(lv)更書,米海岳稱其真到內史,石刻唯《醴泉(quan)銘(ming)》《化度寺》二碑特妙。”
明代(dai)趙崡《石墨(mo)鐫華》:“《醴泉(quan)銘(ming)》為正(zheng)書第(di)一。”
明(ming)代詹(zhan)景鳳(feng)《詹(zhan)氏玄覽編》:“歐(ou)書(shu)寒峭,妙在瘦勁而(er)婉。今之學歐(ou)書(shu)者(zhe),直板(ban)硬平。《九成宮醴泉銘》,歐(ou)陽率更得意書(shu)也。”
明代陳循《芳州集》:“歐陽唐人楷法(fa)第一,此(《虞恭公碑》)與《化(hua)度寺》《九成宮醴泉銘》又歐陽書法(fa)第一。”
清代郭(guo)尚先《芳堅館題(ti)跋》:“(《醴泉(quan)銘》)高華渾樸,法方筆圓,此(ci)漢(han)之分(fen)隸,魏晉(jin)之楷(kai)合并醞釀而成者,伯施(虞世南字伯施)以外,誰可抗(kang)衡!”
清代王澍《竹云題(ti)跋》:“每見為率(lv)(lv)更(geng)者(zhe),方整枯(ku)燥(zao),了乏生韻(yun)。不知率(lv)(lv)更(geng)書風(feng)骨內柔,神明外朗(lang),清和秀潤,風(feng)韻(yun)絕人,自右軍(jun)來,未(wei)有(you)骨秀神清如率(lv)(lv)更(geng)者(zhe)。《醴泉銘》乃其奉詔所(suo)作(zuo),尤是絕用(yong)意(yi)書,比于《邕師塔(ta)銘》,肅括處同,而此(ci)更(geng)朗(lang)暢矣!”
清代(dai)(dai)翁方(fang)綱(gang)《復初齋文集》:“率(lv)更正書(shu)(shu)《皇甫(fu)》《虞恭》皆前半(ban)(ban)(ban)毅力,入后(hou)歸輕斂(lian),雖(sui)以《化度(du)》淳(chun)古無上之品,亦后(hou)半(ban)(ban)(ban)斂(lian)于(yu)前半(ban)(ban)(ban),此(ci)其(qi)(qi)自成筆格,終(zhong)身(shen)如一者(zhe)也。唯《醴泉銘》前半(ban)(ban)(ban)遒勁(jing),后(hou)半(ban)(ban)(ban)寬和,與諸碑之前舒(shu)后(hou)斂(lian)者(zhe)不(bu)同。豈以奉(feng)敕之書(shu)(shu)為表瑞之作,抑或(huo)字勢稍大(da),故不(bu)歸斂(lian),而歸于(yu)舒(shu)與?要之合(he)其(qi)(qi)結構(gou),權其(qi)(qi)章(zhang)法,是率(lv)更平生特出匠(jiang)意之構(gou),千門萬戶,規(gui)矩方(fang)圓之至者(zhe)矣。斯(si)所以范(fan)圍諸家,程式百代(dai)(dai)也。善(shan)學歐書(shu)(shu)者(zhe)終(zhong)以師其(qi)(qi)淳(chun)古為第一義,而善(shan)學《醴泉》者(zhe)正不(bu)可不(bu)知此(ci)義耳。”
清代梁(liang)巘《承晉齋(zhai)積聞錄》:“歐陽(yang)信本《化度》《九成(cheng)》二碑(bei),猶是(shi)學王書,轉折皆圓。”
清(qing)代蔣(jiang)衡《拙存堂題跋》:“歐陽信本書直逼內史,《醴泉銘》尤(you)其(qi)杰作(zuo)其(qi)結(jie)構精(jing)嚴,縱橫跌宕(dang)。”
清代楊賓《大瓢(piao)偶筆》:“信(xin)本書,余纂入《金石源流》者八十(shi)(shi)有二種(zhong),而經余目者二十(shi)(shi)有七(qi),此二十(shi)(shi)七(qi)種(zhong)中《虞(yu)恭公(gong)墓(mu)志銘》為最《邕禪師碑》次之(zhi),《九成宮醴泉銘》《虞(yu)恭公(gong)碑》又次之(zhi)。”
清代楊守敬《激素(su)飛清閣評碑(bei)記》:“大抵此碑(bei)(《醴泉(quan)銘》)之佳,當以米南(nan)宮云(yun)莊若對越,俊若跳擲,董(dong)文敏(min)所云(yun)“如造凌云(yun)臺,一皆經衡量(liang)而(er)成。”又(you)其(qi)《學書邇言》:“歐書《虞(yu)恭(gong)碑(bei)》最為晚年之作(zuo),而(er)平正婉和,其(qi)結體不(bu)似《醴泉(quan)》之開張,亦不(bu)似《皇甫》之峻拔。”
清代歐陽輔《集古求真》:“此碑(《醴泉銘》)最為世(shi)重,歷代評者(zhe),俱(ju)稱為楷法(fa)第一,故椎拓無虛日(ri),而石漸剝(bo)落,今石雖存,字似(si)魂(hun)影!”
清代康有為《廣藝舟雙楫》:“《化度(du)》《九成》氣象較(jiao)為雍容。”
近代容庚《叢帖目》:“《九成宮醴(li)泉銘》圓潔(jie)如珠,溫潤如玉。《石渠(qu)寶(bao)笈三編》引(yin)王澍語:“奉(feng)詔作書(shu),尤所(suo)經(jing)意(yi)。又(you)筆(bi)力益(yi)老,格韻(yun)益(yi)遒(qiu),故疏古朗暢(chang),遂率更書(shu)法之冠。”
《九(jiu)成宮醴泉銘》被后世譽為“天下(xia)第一楷(kai)書”或(huo)“天下(xia)第一正書”。
歐陽(yang)詢人到中年(nian),書(shu)名播于(yu)世,“八(ba)體(ti)皆能”,至(zhi)其晚年(nian),其書(shu)法藝術(shu)水準(zhun)已臻化境,書(shu)《九(jiu)成宮醴泉(quan)銘》時已是76歲,加之(zhi)又是奉(feng)敇而作,更是用(yong)心,且(qie)此(ci)銘筆(bi)力(li)剛勁清(qing)秀,結體(ti)險絕瘦峻,既得北碑方正(zheng)峻利之(zhi)勢,又有(you)南帖風姿秀雅(ya)之(zhi)韻(yun),故歷代(dai)推為(wei)學書(shu)之(zhi)正(zheng)途、初學之(zhi)典(dian)范。諸如(ru)“正(zheng)書(shu)第一“唐楷之(zhi)冠”“翰(han)墨之(zhi)冠”“楷書(shu)之(zhi)極則”等(deng)美譽紛至(zhi)沓(ta)來。后世科舉考(kao)試寫字的取(qu)法都以歐體(ti)為(wei)考(kao)卷(juan)之(zhi)準(zhun)繩,足(zu)見此(ci)書(shu)影響力(li)之(zhi)深遠。
《九(jiu)(jiu)成(cheng)宮醴泉銘(ming)》不僅是一部(bu)書法碑帖,它記(ji)載了(le)李世民在離(li)九(jiu)(jiu)成(cheng)宮組織討(tao)論如(ru)何進行治(zhi)理(li)(li)國(guo)家,讓人(ren)民相信政(zheng)府,并制定(ding)了(le)“輕徭薄賦,勵精圖(tu)治(zhi)”的政(zheng)治(zhi)策略,九(jiu)(jiu)成(cheng)宮的建(jian)(jian)設(she)也反映(ying)了(le)貞觀年(nian)間(jian)的建(jian)(jian)筑(zhu)方針和設(she)計(ji)理(li)(li)念。21世紀中國(guo)經(jing)(jing)濟水平和建(jian)(jian)筑(zhu)技術已經(jing)(jing)不是古(gu)代所(suo)能企(qi)及,然而(er)城市建(jian)(jian)設(she)存在著貪大、媚洋、求怪,缺乏特色且(qie)文化傳承,由此引發的城市跟風攀比、指導思想混亂更埋(mai)下多重隱患。“以(yi)銅為鑒可正衣冠,以(yi)古(gu)為鑒可知(zhi)興(xing)衰,以(yi)人(ren)為鑒可以(yi)明得失,以(yi)史為鑒可以(yi)知(zhi)興(xing)替”,雖然塵(chen)封已久,九(jiu)(jiu)成(cheng)宮醴泉銘(ming)所(suo)記(ji)載的工程建(jian)(jian)設(she)理(li)(li)念在現代仍(reng)有(you)深刻的現實意義。
《九成宮醴泉銘(ming)》成于貞觀(guan)六年(632),立碑(bei)(bei)未久(jiu),即為愛好(hao)歐書者捶拓(tuo),拓(tuo)本當時已(yi)不(bu)(bu)易得(de)。其后年經代遠(yuan),捶拓(tuo)者紛至沓(ta)來,碑(bei)(bei)字(zi)乃損(sun)泐漫漶。所以,碑(bei)(bei)石(shi)因(yin)年久(jiu)風化(hua),加之捶拓(tuo)過多,斷損(sun)嚴重,并(bing)經后人多次開鑿,淺者深(shen)之,疲者肥之;久(jiu)而久(jiu)之,幾(ji)乎無一(yi)筆不(bu)(bu)鑿,以致筆畫枯疲,鋒芒全失(shi)。現碑(bei)(bei)座已(yi)經破損(sun),碑(bei)(bei)首(shou)與碑(bei)(bei)身(shen)一(yi)體,存于陜西(xi)麟游縣博物館。
另外(wai),《九成宮醴泉(quan)銘》有宋拓明(ming)駙馬李祺(qi)本(ben),清(qing)(qing)初高氏重新(xin)裝裱。此本(ben)筆(bi)畫豐腴、字跡清(qing)(qing)晰,為傳世宋拓最(zui)佳者。1956年,張明(ming)善將(jiang)其捐獻給國(guo)家,現藏(zang)于北京(jing)故宮博物院。