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祝允明(1461-1527)

祝允明像
清代顧沅輯，道光九年刻本《吳郡名賢圖傳贊》，孔繼堯繪。

　　字希哲、晞喆。因右手多生一指，故自號支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世稱“祝京兆”。長洲(今江蘇吳縣)人，自幼就聰慧過人，五歲時能寫一尺見方的大字，九歲會作詩，以后博覽群書，詩文有奇氣。弘治五年（1429）中舉，以后便久試不第，正德九年（1514），他被授為廣東興寧縣知縣，在嶺南五年，后升任為應(yīng)天(今南京)府通判，正德十四年（1519）年稱病還鄉(xiāng)。他的仕途與他的祖輩和兒子來說，都相差甚遠(yuǎn)，實(shí)際上他是一個不得意的文人。他和唐寅等人意氣相投，玩世狂放。與唐寅、文徵明、徐禎卿并稱為 “吳中四才子”。晚年，他喜獨(dú)居作詩文，崇尚魏晉風(fēng)流和禪宗，生活更加放浪形骸而不樂拘檢，甚至玩世不恭，在吳門派中，他算最具有文人特質(zhì)的一位。

　　祝允明父為徐有貞女婿，自己又是李應(yīng)禎之婿，祖父祝顥為進(jìn)士，曾官至山西布政司右參政，相信在這樣的環(huán)境里，他受到多方面的熏染。《明史.文苑傳》稱其“能詩文，尤工書法，名動海內(nèi)。”

　　他的楷書早年精謹(jǐn)，師法趙孟頫，褚遂良，并從歐，虞而直追“二王”，其書《出師表》謹(jǐn)嚴(yán)渾樸。晚年，臨寫《黃庭經(jīng)》不注重點(diǎn)畫的形似，而結(jié)構(gòu)疏密，轉(zhuǎn)運(yùn)遒逸，神韻益足。嘉靖末的書法家王樨登說：“古今臨《黃庭經(jīng)》者，不下十?dāng)?shù)家，然皆泥于點(diǎn)畫形似鉤環(huán)戈磔之間而已，......枝山公獨(dú)能于矩繩約度中而具豪縱奔逸意氣。”他的草書師法李邕，黃庭堅，米芾，功力深厚，晚年尤重變化，風(fēng)骨爛熳。人稱：“枝山草書天下無，妙酒豈獨(dú)雄三吳！” 清代朱和羹《臨池心解》認(rèn)為：“祝京兆大草深得右軍神理，而時露傖氣；小草則頓宕純和，行間茂密，亦復(fù)豐致蕭遠(yuǎn)，庶幾媲美褚(遂良)公。”

　　代表作有《草書賈至大明宮早朝詩軸》，《箜篌引（即草書曹植詩手卷）》和《赤壁賦》等，流利灑脫，奔放不羈。《名山藏》說：“允明書出入晉魏，晚益奇縱，為國朝第一。”

撰稿：劉有林

附英文資料（來自臺北故宮博物院）

　　Zhu Yunming (1461-1527), a native of Changzhou (modern Suzhou), had the style name Xizhe and the sobriquet Zhishan. Born with six fingers on his right hand, he gave himself the sobriquet Zhizhisheng to indicate he had an extra finger. He also had the names Zhishan laoqiao and Zhizhi shanren. Exceptionally talented since childhood, he was already capable of writing large characters one Chinese foot in size by the age of five and could compose poetry when he was nine, later becoming a learned scholar. Though Zhu Yunming was a Provincial Graduate in the civil service examinations of 1492, he was unable to place in further tests. So, in 1514, he was appointed as Prefect of Xingning County in Guangdong and became Controller-general of Yingtian Prefecture (Nanjing) in 1521, serving less than a year before returning to his hometown claiming illness. With his career in office not going well, he turned instead to writing, becoming known with Wen Zhengming, Tang Yin, and Xu Zhenqing as one of the "Four Talents of Wu," a regional name referring to Suzhou.

　　It was in calligraphy, however, that Zhu Yunming achieved particular renown, excelling in all script types to become known along with Wu Zhengming and Wang Chong as one of the "Three Masters of Wu." In early years under the influence of his paternal grandfather Zhu Hao, maternal grandfather Xu Youzhen (1407-1472), and father-in-law Li Yingzhen (1431-1493), Zhu Yunming began his study of calligraphy mostly with the Jin and Tang dynasties to form a solid foundation. Among his surviving works are found various styles all co-existing together. The more obvious manners include those of Zhong You, Wang Xizhi, Yu Shinan, Ouyang Xun, Chu Suiliang, Zhang Xu, Yan Zhenqing, Huaisu, Liu Gongquan, Su Shi, Huang Tingjian, Mi Fu, and Zhao Mengfu, demonstrating the wide array of sources from which Zhu chose. Even when imitating the ancient masters, Zhu Yunming often revealed his own personal manner. In response to contemporaries who did not follow classic traditions and jokingly claimed that "imitating the ancients" was akin to becoming a "slave of calligraphy," Zhu could not disagree more, composing a refute entitled "Considerations on a Slave of Calligraphy." In it, he posited the view that "By going and following Jin and Tang (calligraphy), you guard and do not lose it." From the Su Shi manner of Wu Kuan to the Huang Tingjian style of Shen Zhou and Wen Zhengming, all demonstrate Zhu Yunming's standpoint representing the aspirations of calligraphy elite in Suzhou while expressing dissatisfaction with the Secretariat Style popular since the early Ming. Zhu Yunming indeed practiced what he preached, using his spectacular and unparalleled form of calligraphy to imitate the old masters and prove that "copying the ancients" can be an exceptional form of creativity as well. In addition to presenting the styles of various calligraphers, Zhu was ultimately able to achieve a thorough and comprehensive mastery to create a unique and personal manner of his own. Among them, Zhu Yunming's most praised forms of writing were small regular and cursive script, at the same time also inaugurating new trends in Suzhou calligraphy circles.

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