晉唐法書名蹟 / 王耀庭等文字撰述 ; 何傳馨,何炎泉,陳韻如編輯
館藏資訊
本館視聽資料與可外借圖書提供預約服務，每張借閱證總共可預約10冊(件)。
密集書庫中不可外借圖書提供調閱服務，每張借閱證總共可調閱10冊(件)。
如預約/調閱圖書或視聽資料因破損、遺失等因素無法借閱時，本館將以電子郵件或電話簡訊通知讀者取消該筆預約/調閱申請。
Beautiful and rare collection of calligraphy from the National Palace Museum of Taipei (Taiwan). In Chinese calligraphy, the third century CE witnessed the maturation of various script forms. Thereafter, applications for regular, running, and cursive scripts became increasingly widespread, flourishing to form a new trend. During the fourth century in the Eastern Chin dynasty (317-420), calligraphers thereupon strove to forge writing as an art form as they explored how to make brush strokes more natural and aesthetically pleasing. Pursuing the dual beauties of 'skill' and 'naturalness,' both ancient and modern forms of writing were combined to achieve a realm of utmost beauty and perfection in calligraphy. In the following eras, from the Southern Dynasties (420-589) to the T'ang (618-907) dynasties, the emperor played a leading role in the connoisseurship and collection, organization and mounting, and copying and carving in stone of masterpieces by renowned calligraphers. Slowly the refined and sophisticated style of court calligraphy changed. Scholar-calligraphers emphasized the expression of emotions, so personal character, learning, and cultivation became important elements for critically evaluating calligraphy, establishing a new turning point that served as a foundation for later scholar-calligraphy.