【国画基本信息】
| 作者 | 倪中 |
| 品名 | 元明人题钱谱杂文册-书长歌 |
| 朝代 | 元代 |
| 文件大小 | 17.99MB |
| 分辨率 | 300x300 |
| 像素大小 | 2831x2119 |
| 尺寸（CM） | 23.96x17.94 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 书法 |
| 品名 | 元明人题钱谱杂文 册 倪中书长歌 Poem to the Album Ku-ch’uan-p’u |
| 分类 | 法书 |
| 作者 | 倪中 |
| 书体 | 草书 |
| 数量 | 一幅 |
| 作品语文 | 汉文 |
| 释文 | 昔闻古钱谱。今见古泉谱。谷陵变易千万年。九府之法乃得传。姚君好古如好贤。一一裒集亟方圆。火犀照海百怪出。宝剑发狱双龙缠。 国家楮币成久捐。利用竟失子母权。我欲借君此集陈王前。为范汉之五铢唐开元。璜溪倪中。 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 25x32.6 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 题签 | 楷书 | 倪中字德中。 |
| 【印记类别】 | 【印记】 |
| 作者印记 | 倪中印 |
| 作者印记 | 德中 |
| 作者印记 | 据梧吟 |
| 作者印记 | 子孙世昌 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈初编（养心殿），上册，页467 |
| 收藏着录 | 故宫书画录（卷三），第一册，页269 |
| 参考书目 | 1.国立故宫博物院，1994年初版），页132。 2. |
| 内容简介（中文） | 倪中（活动于公元十四世纪后期），江苏华亭人，字德中，生平待考。本幅为元明人题钱谱杂文册之十一。钱谱为金声之姊丈姚元泽所集，原称古泉谱。姚氏为松江名医，好收古今泉布，感名士杨维祯常叹由古今泉货之变而知世变，乃集古泉而册之，以痛世变之变。册成，广求当时名流文士题识，诸题充分反映出元末乱世文人之胸怀。本幅行楷书长歌，用笔古朴，时参章草笔法，与宋克书风甚有渊源，显示出元末明初松江地区之书风，以脱出赵孟頫之笼罩，自成一格。 |
| 内容简介（英文） | Ni Chung (act. Second half 14th century, style name Te-chung) was a native of Hua-t’ing, Kiangsu. This poem is the eleventh colophon to the album Ch’ien-p’u which was arranged by Yao Yuan-tze, the husband of Chin Sheng’s sister. This album was originally called Ku-ch’uan-p’u. Yao Yuan-tze was a famous medical doctor in the Sung-chiang area who liked to collect money from different times. Because he often heard Yang Wei-chen sigh about how one can tell the changes in the world through the changes in the money, he collected into an album money from the past and present in order to chronicle the changes that had occurred over time. He also solicited colophons from all the famous literati. Their colophons clearly reflect their feelings during the turmoil at the end of Yuan dynasty. Ni Chung used running and standard scripts, although occasionally characters in draft cursive appear. His brushwork possesses an antique simplicity, and his style is very much removed from that of Sung K’o. Ni Chung’s calligraphy reveals a new style specific to the Sung-chiang area in which he has already broken free from the almost overpowering influence of Chao Meng-fu. |
