Huang Daozhou, Poems in Running Script | 黃道周　行草自書詩十六首　水墨紙本　手卷

Sotheby's Hong Kong, Fine Classical Chinese Paintings, 24 April 1999, Lot 57

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香港蘇富比，中國古代書畫，1999年4月24日，拍品編號57

The Leshan Tang Collection of Classical Chinese Painting and Calligraphy, Leshan Tang, Taipei, July 2006, pp. 80-85、153 Ching Wan Society Twentieth Anniversary Exhibition, Painting, Ching Wan Society, Taipei, October 2012, pp. 70-71

3. Please refer to the Chinese literature

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著錄：〈黃道周集〉（北京：中華書局，二〇一七年），頁2372-2374、2385-2388

出版：

1. 〈樂山堂藏古代書畫〉(臺北，樂山堂，二〇〇六年七月)，頁80-85、153

2. 〈清翫雅集廿周年慶收藏展．書畫〉（台北，清翫雅集，二〇一二年十月），頁70-71

Ching Wan Society Twentieth Anniversary Exhibition, National Museum of History, Taipei, 20 October 2012 – 9 December 2012

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臺北，國立歷史博物館，〈清翫雅集廿周年慶收藏展〉，二〇一二年十月二十日至十二月九日

Huang Daozhou, courtesy name Youxuan, Chiruo, and Xizun, sobriquet Shizhai and referred to as Shizhai Xiansheng, was known as "General Zhushun" in Minnan and Taiwan regions. He hailed from Tongshan in Zhangpu County, Zhangzhou Prefecture, Fujian Province, with ancestral roots in Putian. He was a political figure, scholar, calligrapher, and artist in the Ming dynasty. In his resistance of the Qing dynasty after the fall of the Ming, he was captured and killed for his refusal to surrender. He was thus posthumously honored as "Zhonglie" (loyal till death), which was later changed to "Zhongduan" (loyal and virtuous) during the Qianlong era. Huang's calligraphy reveals an upright and unyielding feeling, transcending the ordinary, with robust and unrestrained brushwork that resembles turbulent rapids rushing past tall rocks. This piece was created in the Renshen year (1632), using dots and strokes of the clerical script with both smooth and angular brushwork, exhibiting a powerful and mature style. The first eight poems present a characteristic structure and cautious style of him, with a leisurely flow of brushwork. In contrast, the subsequent eight poems display a swifter stroke with passion and an extraordinary momentum. The seals "Zi Xuan Du" and "Huang Shi" on this artwork are consistent with those on the regular script piece Six Poems of Mine (Zizuoshi liushou shice) in the Zhejiang Museum and the Cursive Script Poetry Scroll (Caoshu shijuan) in the Fujian Museum, both created in the same year.

The Collected Works of Huang Zhangpu (Huang Zhangpu ji) was compiled by his hometown sage Chen Shouqi under the order of the Qianlong Emperor. It made a significant contribution to the transmission of Huang's thought and literature. A comparison of the poems in this work and the sixteen poems recorded in the Collected Works of Huang Zhangpu (Huangzhangpu ji) (hereinafter referred to as "Collected Works") provides a deeper understanding of his literature. There are obvious differences in words, phrases or rhymes of the two version, for example, the character "器" (implements) in "the ancients have already made excellent implements" (古人制器已精微) in this piece is "氣" (air) in the Collected Works; and "別" (might be) in "there might be other fairy Penglai islands in the world" is "確" (must be); the character "破" (breaking through) in " the drunken pipa sound turned into the Music of Breaking through Enemy's Front" (入醉琵琶飜破陣) is "彼" (that) in the Collected Works; and "半" (half) in "the copper instrument plays half of Jiangnan music" (銅鞮半與江南樂), is "判" (judge). There are fifteen such differences in total in this piece. This is also true with Huang's poems recorded in his other calligraphic works, for example, in the Running Script Poetry Scroll (Xingshu shijuan) collected in Hubei Province Museum, it is also written as "the drunken pipa sound turned into the Music of Breaking through Enemy's Front" (入醉琵琶飜破陣). So it is obvious that there had been differences at the time of its completion. Apart from serving as a collateral evidence of this piece, they can also be used to study Huang's essays and correct their errors.

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註：黃道周，字幼玄，又字螭若、細遵，號石齋，人稱石齋先生，閩南、台灣稱「助順將軍」，福建省漳州府漳浦縣銅山人，祖籍莆田，明朝政治人物、學者、書法家、藝術家。明亡後抗清，被俘殉國。諡「忠烈」，乾隆時改諡「忠端」。石齋書法剛正不阿，不流凡俗，筆意離奇超妙，如急湍下流，被咽危石，雄健奔放。本幅寫於壬申(1632)，以隸書鋪毫和方折行筆，點畫取隸意，奇崛剛勁，筆墨成熟見風格。前八首略為謹慎，顯石齋典型結體，行氣悠然自得，後八首行筆速度愈快，激情燃紙，振迅耳目，氣勢自為不凡。鈐印「字玄度」、「黃氏」與同年所作浙江省博物館藏楷書《自作詩六首詩冊》、福建博物院藏《草書詩卷》相同，可資比較。

傳世《黃漳浦集》為其鄉賢陳壽祺受乾隆命編纂成書，對黃道周理學及詩文傳世有不世之功。而觀本幅與《黃漳浦集》(下簡稱《集》)中著錄此十六詩，卻可略作校對，亦可對黃道周之文學有更深一層的了解，如本幅「古人制器已精微」句，《集》中「器」作「氣」，明顯為誤錄；亦如本幅「世間別有蓬萊島」句，《集》中「別」作「確」；「入醉琵琶飜破陣」句，《集》中「破」作「彼」；「銅鞮半與江南樂」句，《集》中「半」作「判」，皆為明顯詞句或格律錯誤之處。如此不同之處，本幅共十五處。參見黃道周其他作品中所錄自作詩，亦有如此情況，如湖北省博物館藏黃道周《行書詩卷》中亦寫作「入醉琵琶飜破陣」，可見當時成書時已有差池，除作為本幅之旁證，亦可研究、勘誤黃石齋傳世之文章。