书体:

草书

色彩:

装裱形式:

卷

创作时间:

周则天武后万岁通天垂拱三年（687）

文字类型:

汉文

质地:

本幅纸隔水一绫隔水二绫

释文:

书谱卷上。吴郡孙过庭撰。夫自古之善书者。汉魏有锺张之绝。晋末称二王之妙。王羲之云。顷寻诸名书。锺张信为绝伦。其馀不足观。可谓锺张信为绝伦。其馀不足观（上九字点去）云没。而羲献继之。又云。吾书比之锺张。锺当抗行。或谓过之。张草犹当鴈行。然张精熟。池水尽墨。假令寡人耽之若此。未必谢之。此乃推张迈锺之意也。考其专擅。虽未果于前规。摭以兼通。故无惭于即事。评者云。彼之四贤。古今特绝。而今不逮古。古质而今妍。夫质以代兴。妍因俗易。虽书契之作。适以记言。而淳醨一迁。质文三变。驰鹜沿革。物理常然。贵能古不乖时。今不同弊。所谓文质彬彬。然后君子。何必易雕宫于穴处。反玉辂于椎轮者乎。又云。子敬之不及逸少。犹逸少之不及锺张。意者以为评得其纲纪。而未详其始卒也。且元常专工于隶书。百（伯）英尤精于草体。彼之二美。而逸少兼之。拟草则馀真。比真则长草。虽专工小劣。而博涉多优。总其终始。匪无乖互。谢安素善尺椟。而轻子敬之书。子敬尝作佳书与之。谓必存录。安辄题后答之。甚以为恨。安尝问敬。卿书何如右军。答云。故当胜。安云。物论殊不尔。子敬又答。时人那得知。敬虽权以此辞。折安所鉴。自称胜父。不亦过乎。且立身扬名。事资尊显。胜母之里。曾参不入。以子敬之豪翰。绍右军之笔札。虽复粗传楷则。实恐未克箕裘。况乃假讬神仙。耻崇家范。以斯成学。孰愈面墙。后羲之往都。临行题壁。子敬密拭除之。辄书易其处。私为不恶。羲之还。见乃歎曰。吾去时真大醉也。敬乃内惭。是知逸少之比锺张。则专博斯别。子敬之不及逸少。无或疑焉。馀志学之年。留心翰墨。味锺张之馀烈。挹羲献之前规。极虑专精。时逾二纪。有乖入木之术。无间临池之志。观夫悬针垂露之异。奔雷坠石之奇。鸿飞兽骇之资。鸾舞蛇惊之态。绝岸颓峰之势。临危据槁之形。或重若崩云。或轻如蝉翼。导之则泉注。顿之则山安。纤纤乎似初月之出天崖。落落乎犹众星之列河汉。同自然之妙有。非力运之能成。信可谓智巧兼优。心手双畅。翰不虚动。下必有由。一画之间。变起伏于峰杪。一点之内。殊衄挫于豪芒。况云积其点画。乃成其字。曾不傍窥尺椟。俯习寸阴。引班超以为辞。援项籍而自满。任笔为体。聚墨成形。心昏拟効（点去）效之方。手迷轻重之（上三字点去）挥运之理。求其妍妙。不亦谬哉。然君子立身。务修其本。杨雄谓。诗赋小道。壮夫不为。况复溺思豪厘。沦精翰墨者也。夫潜神对弈。犹标坐隐之名。乐志垂纶。尚体行藏之趣。讵若功宣礼乐。妙拟神仙。犹挺埴之罔穷。与工鑪而并运。好异尚奇之士。翫体势之多方。穷微测妙之夫。得推移之奥赜。着述者假其糟粕。藻鉴者挹其菁华。固义理之会归。信贤达之兼善者矣。存精寓赏。岂徒然与。然消息多方。性情不一。乍刚柔以合体。或劳（上十七字点去）。而东晋士人。互相陶淬。至于王谢之族。郗庾之伦。纵不尽其神奇。咸亦挹其风味。去之资（点去）滋永。斯道愈微。方复闻疑称疑。得末行末。古今阻绝。无所质问。设有所会。缄秘已深。遂令学者茫然。莫知领要。徒见成功之美。不悟所致之由。或乃就分布于累年。向规矩而犹远。图真不悟。习草将迷。假令薄解草书。粗传隶法。则好溺偏固。自阂通规。讵知心手会归。若同源而异派。转用之术。犹共树而分条者乎。加以趋吏适时。行书为妥。题勒方幅。真乃居先。草不兼真。殆于专谨。真不通草。殊非翰札。真以点画为形质。使转为情性。草以点画为情性。使转为形质。草乖使转。不能成字。真亏点画。犹可记文。回互虽殊。大体相涉。故亦傍通二篆。俯贯八分。包括篇章。涵泳飞白。若豪厘不察。则胡越殊风者焉。至如锺繇隶奇。张芝草圣。此乃专精一体。以致绝伦。伯英不真。而点画狼借。元常不草。使转纵横。自兹已降。不能兼善者。有所不逮。非专精也。虽篆隶草章。工用多变。济成厥美。各有攸宜。篆尚婉而通。隶欲精而密。草贵流而（上二字点去）流而畅。章务检而便。然后凛之以风神。温之以妍润。鼓之以枯劲。和之以闲雅。故可达其情性。形其哀乐。验燥湿之殊节。千古依然。体老壮之异时。百龄俄顷。嗟乎盖有学而（上六字点去）。嗟乎。不入其门。讵窥其奥者也。又一时而书有乖有合。合则流媚。乖则雕疎。略而（而字点去）言其由。各有其五。神怡务闲。一合也。感惠徇绚（绚字点去）知。二合也。时和气润。三合也。纸墨相发。四合也。偶然欲书。五合也。心遽体也。乖合之际。优劣互差。得时不如得器。得器不如得志。若五乖同萃。思遏手蒙。五合交臻。神融笔畅。畅无不适。蒙无所从。当仁者得意忘言。罕陈其要。企学者希风叙妙。虽述犹疎。徒立其工。未敷厥旨。不揆庸昧。辄効所明。庶欲弘既往之风规。导将来之器识。除繁去滥。覩迹明心者焉。代有笔阵图七行。中画执笔三手。图貌乖舛。点画湮讹。顷见留一乖也。意违势屈二乖也。风燥日炎三乖也。纸墨不称四乖也。情怠手阑五乖（以上三十一字墨蹟原装裱有误，应置于第一百三十二行「心遽体」文后）。南北流传。疑是右军所制。虽则未详真伪。尚可发启童蒙。既常俗所存。不借编录。其有显闻。当代遗迹见存。无俟抑扬。自标先后。（上十八字点去）。至于诸家势评。多涉浮华。莫不外状其形。内迷其理。今之所撰。亦无取焉。若乃师宜官之高名。徒彰史牒。邯郸淳之令范。空着缣缃。暨乎崔。杜以来。萧羊已往。代祀緜远。名氏滋繁。或借甚不渝。人亡业显。或凭附增价。身谢道衰。加以糜蠹不传。搜秘将尽。偶逢缄赏。时亦罕窥。优劣纷纭。殆难覶缕。其有显闻当代。遗迹见存。无俟抑扬。自标先后。且以之所达不（上五字点去）六文之作。肇自轩辕。八体之兴。始于嬴政。其来尚矣。厥用斯弘。但今古不同。妍质悬隔。既非所习。又亦略诸。复有龙蛇云露之流。龟鹤花英之类。乍图真于率尔。或写瑞于当年。巧涉丹青。工亏翰墨。既（点去）异夫楷式。非所详焉。代传羲之与子敬笔势论十章。文鄙理疏。意乖言拙。详其旨趣。殊非右军。且右军位重才高。调清词雅。声尘未泯。翰椟仍存。观夫致一书。陈一事。造次之际。稽古斯在。岂有贻谋令嗣。道叶义方。章则顿亏。一至于此。其有显闻当（上五字点去）。又云与张伯英同学。斯乃更彰虚诞。若指汉末伯英。（下阙一百六十六字）。约理赡。迹显心通。披卷可明。下笔无滞。诡词异说。非所详焉。然今之所陈。务裨学者。但右军之书。代多称习。良可据为宗匠。取立指归。岂唯会古通今。亦乃情深调合。致使摹搨日广。研习岁滋。先后著名。多从散落。历代孤绍。非其或（或字点去）効欤。试言其由。略陈数意。止如乐毅论。黄庭经。东方朔画讚。太师箴。兰亭集序。告誓文。学（点去）斯并代俗所传。真行绝致者也。写乐毅则情多怫郁。书画讚则意涉瓌奇。黄庭经则怡怿虚无。太师箴又从横争折。暨乎兰亭兴集。思逸神超。私门诫誓。情拘志惨。所谓涉乐方笑。言哀已歎。岂惟驻想流波。将贻啴喛之奏。驰神睢涣。方思藻绘之文。虽其目击道存。尚或心迷议舛。莫不强名为体。共习分区。岂知情动形言。取会风骚之意。阳舒阴惨。本乎天地之心。既失其情。理乖其实。原夫所致。安有体哉。夫运用之方。虽由己出。规模所设。信属目前。差之一豪。失之千里。苟知其术。适可兼通。心不厌精。手不忘熟。若运用尽于精熟。规矩谙于胸襟。自然容与徘徊。意先笔后。潇洒流（下阙三十字）落。翰逸神飞。亦犹弘羊之心。预乎无际。庖丁之目。不见全牛。尝有好事。就吾求习。吾乃粗举纲要。随而授之。无不心悟手从。言忘意得。纵未穷于众术。断可极于所诣矣。若思通楷则。少不如老。学不如老（上四字点去）学成规矩。老不如少。思则老而逾妙。学乃少而可勉。勉之不已。抑有三时。时然一变。极其分矣。至如初学分布。但求平正。既知平正。务追险绝。既能险绝。复归平正。初谓未及。中则过之。后乃通会。通会之际。人书俱老。仲尼云。五十知命。七十从心。故以达夷险之情。体权变之道。亦犹谋而后动。动不失宜。时然后言。言必中理矣。是以右军之书。末年多妙。当缘思虑通审。志气和平。不激不厉。而风规自远。子敬已下。莫不鼓努为力。标置成体。岂独工用不侔。亦乃神情悬隔者也。或有鄙其所作。或乃矜其所运。自矜者。将穷性域。绝于诱进之途。自鄙者。尚屈情涯。必有可通之理。嗟呼。盖有学而不能。未有不学而能者也。考之即事。断可明焉。然消息多方。性情不一。乍刚柔以合体。忽劳逸而分驱。或恬澹雍容。内涵筋骨。或折挫槎椊。外曜峰绝（绝字点去）芒。察之者尚精。拟之者贵似。况拟不能似。察不能精。分布犹踩。形骸未捡。跃泉之态。未覩其妍。窥井之谈。已闻其丑。纵欲搪突羲献。诬罔锺张。安能掩当年之目。杜将来之口。慕习之辈。尤宜慎诸。至有未悟淹留。偏追劲疾。不能迅速。翻效迟重。夫劲速者。超逸之机。迟留者。赏会之致。将反其速。行臻会美之方。专溺于迟。专溺于迟（上四字点去）终爽绝伦之妙。能速不速。所谓淹留。因迟就迟。讵名赏会。非夫心闲手敏。难以兼通者焉。假令众妙攸归。务存骨气。骨既存矣。而遒润加之。亦犹枝榦扶疏。凌霜雪而弥劲。花叶鲜茂。与云日而相晖。如其骨力偏多。遒丽盖少。则若枯槎架险。巨石当路。虽妍媚云阙。而体质存焉。若遒丽居优。骨气将劣。譬夫芳林落蘂。空照灼而无依。兰沼漂蓱。徒青翠而奚讬。是知偏工易就。尽善难求。虽学宗一家。而变成多体。莫不随其性欲。便以为资（资字点去）姿。质直者。则径侹不遒。刚佷者。又倔强无润。矜敛者。弊于拘束。脱易者。失于规矩。温柔者。伤于软缓。躁勇者。过于剽迫。狐疑者。溺于滞涩。迟重者。终于蹇钝。轻琐者。淬于俗吏。斯皆独行之士。偏翫所乖。易曰。观乎天文。以察时变。观乎人文。以化成天下。况书之为妙。近取诸身。假令运用未周。尚亏工于秘奥。而波澜之际。已濬发于灵台。必能傍通点画之情。博究始终之理。镕铸虫篆。陶均草隶。体五材之并用。仪形不极。象八音之迭起。感会无方。至若数画并施。其形各异。众点齐列。为体互乖。一点成一字之规。一字乃终篇之准。违而不犯。和而不同。留不常迟。遣不恒疾。带燥方润。将浓遂枯。泯规矩于方圆。遁钩绳之曲直。乍显乍晦。若行若藏。穷变态于豪端。合情调于纸上。无间心手。忘怀楷则。自可背羲献而无失。违锺张而尚工。譬夫绛树青琴。殊姿共豔。随珠和璧。异质同妍。何必刻鹤图龙。竟惭真体。得鱼获兔。犹恡筌蹄。闻夫家有南威之容。乃可论于淑媛。有龙泉之利。然后议于断割。语过其分。实累枢机。吾尝尽思作书。谓为甚合。时称识者。辄以引示。其中巧丽。曾不留目。或有误失。翻被嗟赏。既昧所见。尤喻所闻。或以年职自高。轻致凌诮。馀乃假之以缃缥。题之以古目。则贤者改观。愚夫继声。竞赏豪末之奇。罕议峰端之失。犹惠侯之好伪。似叶公之惧真。是知伯子之息流波。盖有由矣。夫蔡邕不谬赏。孙阳不妄顾者。以其玄鉴精通。故不滞于耳目也。向使奇音在爨。庸听惊其妙响。逸足伏枥。凡识知其绝群。则伯喈不足称。伯乐未可尚也。至若老姥遇题扇。初怨而后请。门生获书机。父削而子懊。知与不知也。夫士屈于不知己。而申于知己。彼不知也。曷足怪乎。故庄子曰。朝菌不知晦朔。蟪蛄不知春秋。老子云。下士闻道。大笑之。不笑之则不足以为道也。岂可执冰而咎夏虫哉。自汉魏已来。论书者多矣。妍蚩杂糅。条目纠纷。或重述旧章。了不殊于既往。或苟兴新说。竟无益于将来。徒使繁者弥仍（仍字点去）繁。阙者仍阙。今撰为六篇。分成两卷。第其工用。名曰书谱。庶使一家后进。奉以规模。四海知音。或存观省。缄秘之旨。馀无取焉。垂拱三年（西元六八七年）写记。

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：宣
收传印记：龢
收传印记：双螭（圆印）
收传印记：宣和
收传印记：政和
收传印记：北海孙氏珍藏书画印（重一。半印）
收传印记：思原堂
收传印记：麓邨
收传印记：苍巖子
收传印记：观其大略
收传印记：苍巖
收传印记：梁清标印
收传印记：蕉林祕玩
收传印记：安氏仪周书画之章
收传印记：朝鲜人
收传印记：安岐之印
收传印记：氏珍藏书画印（半印）
收传印记：听记（半印）
收传印记：（十半印漫漶不识）
收传印记：（一印漫漶不识）
收传印记：（卷中幅押缝印。俱残缺不可识）

题跋资料:

题跋类别：题签；宋徽宗隔水一 ；书体：楷书；全文：唐孙过庭书谱序下。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页879-880 收藏着录： 故宫书画录（卷一），第一册，页1 参考书目： 1.朱惠良，〈唐孙过庭书谱〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页14-17。2.何传馨、城野诚治撰稿，峰岸佳叶等翻译，《孙过庭书谱光学摄影检测报告》（台北：国立故宫博物院，2008）。3.何传馨，〈唐孙过庭书谱〉，收入何传馨、何炎泉、陈韵如编，《晋唐法书名蹟》（台北：国立故宫博物院，2008年初版），页113-117。4.何传馨、城野诚治撰稿，峰岸佳叶等翻译，《孙过庭书谱光学摄影检测报告》（台北：国立故宫博物院，2008）。5.苏莹辉，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页17-18。6.朱惠良，〈唐孙虔礼书谱序〉，《故宫文物月刊》，第100期（1991年7月），页100-101。7.钟民丰，〈「书谱」节笔及古法帖折纸方法之探索〉，《故宫文物月刊》，第115期（1992年10月），页24-45。8.张光宾，〈故宫博物院收藏法书与碑帖〉，《故宫季刊》，第九卷第三期（1975年春），页5-19。9.高乐知，〈中国书法造形分析法 — 以孙过庭书谱为例〉，《中华民国建国八十年中国艺术文物讨论会论文集　书画(下)》（台北：国立故宫博物院，1992），页599-626。10.何炎泉，〈张瑞图(1570-1641)行草书风之形成与书法应酬〉，《国立台湾大学美术史研究集刊》，第19期(2005)，页133-162。11.侯怡利，〈唐孙过庭书谱〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页182。12.何传馨、陈阶晋、侯怡利编，《故宫法书新编（二）唐 孙过庭书谱》（台北：国立故宫博物院，2010年九月初版一刷）。 内容简介（中文）： 孙过庭（活动于七世纪后半）字虔礼，吴郡（江苏苏州）人，曾任率府录事参军。去职后，欲致力于书学研究，以嘉惠学者，不过中年遽世，未竟志业。此卷书于武后垂拱三年（687），篇首题「书谱卷上」，内容包含书法评论、书体功用、书法审美与学习等议题。全卷书风或谨饬，或粗放，点画时而连绵流美，时而直率质朴，自然流露出书写过程的心理变化。 (20081012) 内容简介（中文）： 孙过庭（西元七世纪），字虔礼，浙江富阳人（书谱中自称吴郡人）。〈书谱序〉在短短三千字的文内，品评古代书法家的优劣，讨论书法的技巧与经验，并总结从六朝到唐代以来的书法理论。本文不仅是宝贵的早期书法理论史料，本身更是一件优美的书法作品。孙过庭的草书深受王羲之章草的影响。全文以圆笔为主，但他的笔划比王羲之的「十七帖」更变化多端，结构也更修长。 内容简介（中文）： 本卷草书三百五十一行，为初唐书法家、书学理论家孙虔礼所作。孙虔礼，生卒年不详，据卷末「垂拱三年（687）写记」，推估作者活动年代在西元七世纪后期，即唐高宗和武后时代。其名、字号和借贯历来说法不一，依孙氏友人陈子昂所作《孙君墓志铭》中所载，孙氏名虔礼，字过庭，河南陈留人。本幅则为孙氏仅存的书迹。 本卷起首自书「书谱卷上」，卷末谓「今撰为六篇，分为两卷。」知此作原为六篇，分为上、下二卷，今故宫所藏，仅为上卷中书谱总序一篇。文长三千馀字，论理精确，叙述扼要，为珍贵的早期书法理论史料。而文字本身更是一件优美的书法精品。全文以圆笔为主，并巧用隶法，深受王羲之章草的影响。但其笔划比王羲之的「十七帖」更变化多端，结构也更修长。 内容简介（中文）： 孙过庭字虔礼，籍贯生平不详，是初唐重要的书法家和书学理论家。　此卷文长三千馀字，写于垂拱三年（687），精要地品评古代书家的优劣，叙述书法技巧与学习经验，是一部珍贵的早期书法理论史料。同时，本卷深受王羲之草书影响，时而妍润，运笔平缓，结体优美；时而粗放，运笔快速，不加修饰，显现构思、誊录与改写过程中，情绪的起伏变化，与内容论旨十分契合。(20110913) 内容简介（英文）： Sun Guoting, Tang dynasty (608-907)Sun Guoting (style name Qianli), ancestral hometown unknown, was an important practitioner and theorist of calligraphy in the early Tang period.This handscroll features more than 3,000 characters. Written in 687, it is a concise critique of the virtues and faults of ancient calligraphers. Also describing the techniques of this art form and Sun’s experiences in learning it, the scroll thereby provides precious early historical material on the theory of calligraphy. At the same time this work also reveals the profound influence of Wang Xizhi’s cursive script. At times it is beautifully fluid with brushwork even and gentle, forming graceful character forms. At other times the brush movement is quick and unadorned, portraying the beauty of variations in cursive script to the utmost. Not only is this work the most important text on calligraphy theory from the early Tang, it is also an extremely rare surviving example of calligraphy from that period.(20110913) 内容简介（英文）： This handscroll in cursive script, composed of 351 vertical lines of text, was done by the early T'ang calligrapher and theorist Sun Kuo-t'ing. Little is known about Sun, but he dated this scroll to 687, indicating that he was active at least in the latter half of the 7th century. There is also some controversy to other parts of his biography, but an epitaph written by a friend indicates his surname was Sun, his given name Ch’ien-li, his style name Kuo-t'ing, and his hometown in Honan province. This work represents the only surviving piece by this calligrapher.The first column of the handscroll at the right states, “Chapter one of Essay on Calligraphy,” and the end is inscribed, “This is a selection of six topics divided into two chapters.” The scroll now in the Museum collection represents only the general preface at the beginning of chapter one, which has not survived. More than 3000 characters in length, the contents deal with the essential points and basic principles of calligraphy, making it an important example of early calligraphic theory. The calligraphy itself is also a masterpiece of early cursive script. Using rounded brushwork with some elements of clerical script, it reflects the strong influence of Wang Hsi-chih's draft cursive script from the 4th century. However, the strokes here are more varied and the characters more slender than those shown in Wang's “Letters of the Seventeenth”. 内容简介（英文）： Sun Kuo-t'ing, a native of Chekiang, presented a concise and complete essay appreciating the virtues of ancient calligraphers in the short span of 3,000 characters. In discussing the techniques and experiences in calligraphy, he summarized the history of this art from the Six Dynasties period to the T'ang dynasty.Not only is this work a precious source of historical material on the early history and theory of calligraphy, it is also a beautiful work in its own right. Sun's cursive script was influenced by the draft-cursive script of Wang Hsi-chih. Done mostly with a rounded brush, Sun's strokes are more varied than in Wang's Seventeen Works (Shih-ch'i t'ieh) and the characters are further elongated. 内容简介（英文）： Sun Kuo-t’ing, style name Ch’ien-li, was a native of Wu-chün (modern Soochow, Kiangsu) and once served as Administrative Supervisor of the Guard Command. After leaving office, he devoted himself to the study of calligraphy to benefit students of this art form. Unfortunately, he passed away in middle age before fulfilling his goal. This handscroll was done in the third year of Wu Tse-t’ien’s Ch’ui-kung reign (corresponding to 687), the front title reading, “Essay on Calligraphy, Scroll One.” The contents include a discourse on calligraphy, the functions of script types, and the aesthetics and practice of calligraphy. The style ranges from sober and reserved to coarse and untrammeled, the dots and strokes at times appearing continuous and beautifully flowing, while at others simple and direct. Thus, it naturally reveals the writer’s feelings during the process of calligraphing the work. (20081012) 网页展示说明 这卷草书作品〈书谱〉全长900.8公分，现存351行，全文约3700多字，是唐代书法理论家与书法家孙过庭，完成于垂拱三年（687）的名作。 孙过庭自述十五岁开始留心翰墨，沉浸数十年。他的书法工夫深厚，加上天赋高超，备受历代评论家讚赏。孙过庭立志编撰一部有助于初学者的着作，不过在有生之年未能完成，只留下这篇绪论，全文内容主要有四部份：一是讨论书法的「博涉」与「精工」，强调兼通各种书体的重要性。二是阐述编录〈书谱〉的原则。三是举出临学的范本，提醒学者临习时须着重内在的心理因素，而非外在的形体。最后论述书法学习的进程、态度及境界。 书谱全卷存在妍润与粗放两种不同的书法表现，妍润者，运笔平缓，结体优美；粗放者，运笔快速，不加修饰，孙过庭似乎有意在本卷书写时，实际示范草书的变化之美。 (20081012) 网页展示说明 This surviving handscroll of cursive script is about nine meters long and consists of about 3,700 characters in 351 lines. This masterpiece was written by the learned theorist and practitioner of calligraphy Sun Kuo-t'ing and completed in the third year of the Ch'ui-kung year (687). In Sun Kuo-t'ing's own words, he started paying attention to calligraphy at the Chinese age of 15, delving into it for several decades thereafter. With calligraphy his labor of love, combined with an exceptional talent in it, Sun's efforts led him to become praised by critics through the ages. He was determined to compose a work to assist beginning students of calligraphy, but unfortunately unable to complete it before his death, leaving only this preface, the contents of which can be divided into four main parts. The first part discusses achieving “breadth” and “skill” in calligraphy, emphasizing the importance of skill in all the major script types. The second is a description of the principles behind recording “Essay on Calligraphy.” The third emphasizes the copying of models, reminding scholars that when copying they must focus on spiritual elements and not just external forms. The final part is a description of the process, attitude, and realm in studying calligraphy. “Essay on Calligraphy” contains both elegant and coarser manners of expression all together in one piece. In the more elegant parts, the brushwork is gentle with more graceful. In coarser sections, the brushwork is quick without ornamentation. It seems that Sun Kuo-t'ing intentionally sought to provide concrete examples of the various forms of beauty in calligraphy when doing this work. (20081012) 网页展示说明 孙过庭（活动于七世纪后期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之后，遂专注于书法研究。本卷卷首题：「书谱卷上。吴郡孙过庭撰」，卷尾题：「垂拱三年写记」。内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为「序」，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为「谱」，作者生前未能完成。孙过庭专习王羲之草书，笔法精熟，唐代无人能与他相比。本卷纸墨精好，神彩焕发，不仅是一篇文辞优美的书学理论，也是草书艺术的理想典范。卷中融合质朴与妍美书风，运笔中锋侧锋并用，笔锋或藏或露，忽起忽倒，随时都在变化，令人目不暇给。笔势纵横洒脱，达到心手相忘之境。(20110913)