《張遷(qian)碑》又名《張遷(qian)表頌》,全稱《漢(han)故谷城長蕩陰令張君表頌》,是東(dong)漢(han)晚(wan)期(qi)佚(yi)名書(shu)法(fa)家書(shu)丹,東(dong)漢(han)碑刻(ke)(ke)家孫興(xing)刻(ke)(ke)石而成的一件隸書(shu)書(shu)法(fa)作品(pin)。此碑于(yu)東(dong)漢(han)中平三年(186年)刻(ke)(ke)立,明代初年出土,現收藏于(yu)山(shan)東(dong)泰山(shan)岱(dai)廟碑廊(lang)。
《張(zhang)(zhang)遷(qian)碑(bei)》篆(zhuan)額題“漢故轂城(cheng)長蕩陰令張(zhang)(zhang)君表(biao)頌”12字,額字獨呈扁(bian)形,書(shu)意在篆(zhuan)隸之(zhi)間;碑(bei)陽正(zheng)文15行,行42字,共567字;碑(bei)陰3列(lie)(lie),上(shang)2列(lie)(lie)19行,下列(lie)(lie)3行碑(bei)文。此碑(bei)是谷城(cheng)故吏(li)韋萌(meng)等為追念張(zhang)(zhang)遷(qian)之(zhi)功德而立,銘文著重宣(xuan)揚張(zhang)(zhang)遷(qian)及其祖先張(zhang)(zhang)仲、張(zhang)(zhang)良、張(zhang)(zhang)釋之(zhi)和張(zhang)(zhang)騫的功績(ji),并涉及到黃巾起義軍的有(you)關情節,具有(you)很高(gao)的史(shi)料價值(zhi)。
《張遷碑》是東漢隸(li)書(shu)成熟時期的(de)作品(pin),書(shu)法(fa)造(zao)詣高。此碑自(zi)出(chu)土以來,為(wei)歷代金石、書(shu)法(fa)家(jia)所推崇。在眾(zhong)多的(de)漢代碑刻中,此碑以古樸、厚(hou)重(zhong)、典雅取勝,字里行(xing)間(jian)流露出(chu)率真(zhen)之意,具(ju)有民間(jian)樸質之風,格調峻實(shi)穩重(zhong),堪稱(cheng)神品(pin)。它起筆方(fang)(fang)折(zhe)寬厚(hou),轉(zhuan)角方(fang)(fang)圓(yuan)兼備,運筆遒勁而曲折(zhe)有力,落筆穩健,可謂是漢隸(li)方(fang)(fang)筆系統的(de)代表作。
漢故榖城長蕩(dang)陰令張君表(biao)頌
君(jun)(jun)諱遷(qian),字公(gong)方,陳留(liu)己吾(wu)人也。君(jun)(jun)之(zhi)(zhi)(zhi)(zhi)先出自(zi)有(you)(you)(you)周,周宣王中興,有(you)(you)(you)張(zhang)(zhang)仲,以孝友(you)為(wei)行,披覽(lan)《詩·雅》,煥知(zhi)其祖。高帝(di)龍興,有(you)(you)(you)張(zhang)(zhang)良,善用(yong)籌策,在帷幕之(zhi)(zhi)(zhi)(zhi)內(nei),決勝負千里之(zhi)(zhi)(zhi)(zhi)外(wai),析珪(gui)于(yu)留(liu)。文景之(zhi)(zhi)(zhi)(zhi)間,有(you)(you)(you)張(zhang)(zhang)釋(shi)之(zhi)(zhi)(zhi)(zhi),建忠弼(bi)之(zhi)(zhi)(zhi)(zhi)謨(mo)。帝(di)游上(shang)林,問(wen)禽狩所(suo)有(you)(you)(you)。苑令(ling)(ling)不(bu)(bu)對(dui),更問(wen)嗇(se)(se)(se)夫,嗇(se)(se)(se)夫事對(dui)。于(yu)是(shi)進(jin)嗇(se)(se)(se)夫為(wei)令(ling)(ling),令(ling)(ling)退為(wei)嗇(se)(se)(se)夫。釋(shi)之(zhi)(zhi)(zhi)(zhi)議為(wei)不(bu)(bu)可:苑令(ling)(ling)有(you)(you)(you)公(gong)卿之(zhi)(zhi)(zhi)(zhi)才,嗇(se)(se)(se)夫喋喋小吏(li),非社稷之(zhi)(zhi)(zhi)(zhi)重。上(shang)從(cong)(cong)(cong)言。孝武時(shi),有(you)(you)(you)張(zhang)(zhang)騫,廣通風(feng)俗,開定畿寓,南苞八(ba)蠻,西羈六(liu)戎,北震五狄,東勤(qin)九(jiu)夷。荒遠既(ji)殯,各貢所(suo)有(you)(you)(you)。張(zhang)(zhang)是(shi)輔漢,世載其德。爰既(ji)且(qie)于(yu)君(jun)(jun),蓋(gai)其繵縺。纘(zuan)戎鴻緒,牧守相系,不(bu)(bu)殞高問(wen)。孝弟于(yu)家,中謇于(yu)朝。治京氏易,聰麗權(quan)略(lve),藝于(yu)從(cong)(cong)(cong)政。少為(wei)郡吏(li),隱練職位(wei),常在股(gu)肱(gong)。數(shu)為(wei)從(cong)(cong)(cong)事,聲無(wu)細聞(wen)。征拜郎(lang)中,除谷(gu)城(cheng)長。蠶月之(zhi)(zhi)(zhi)(zhi)務,不(bu)(bu)閉四門(men)。臘(la)正之(zhi)(zhi)(zhi)(zhi)祭(ji),休囚歸賀。八(ba)月筭(suan)民,不(bu)(bu)煩于(yu)鄉(xiang)。隨(sui)就(jiu)虛落,存恤高年(nian)。路無(wu)拾遺,犁種宿野。黃巾初起,燒平城(cheng)市,斯縣獨全。子(zi)賤孔蔑,其道區別。《尚書(shu)》五教,君(jun)(jun)崇(chong)其寬;詩云(yun)(yun)愷悌,君(jun)(jun)隆其恩;東里潤色,君(jun)(jun)垂其仁。邵(shao)伯分(fen)陜,君(jun)(jun)懿于(yu)棠。晉陽佩(pei)瑋(wei),西門(men)帶弦。君(jun)(jun)之(zhi)(zhi)(zhi)(zhi)體素,能雙其勛。流化八(ba)基(ji),遷(qian)蕩陰令(ling)(ling)。吏(li)民頡(jie)頏,隨(sui)送如云(yun)(yun)。周公(gong)東征,西人怨(yuan)思。奚(xi)斯贊魯。考父(fu)頌(song)殷。前(qian)喆遺芳,有(you)(you)(you)功不(bu)(bu)書(shu),后無(wu)述(shu)焉。于(yu)是(shi)刊石(shi)豎表,銘勒(le)萬載。三代以來,雖遠猶近,《詩》云(yun)(yun)舊國,其命惟新。
于(yu)穆我君,既敦既純。雪白(bai)之(zhi)(zhi)性,孝友(you)之(zhi)(zhi)仁。紀(ji)行來本,蘭生有(you)芬,克岐(qi)有(you)兆(zhao),綏(sui)御有(you)勛。利器不覿(di),魚不出淵。國之(zhi)(zhi)良干,垂愛在民(min)。蔽沛棠樹(shu),溫(wen)溫(wen)恭人。乾道不繆,唯淑是親。既多受(shou)祉,永享(xiang)南山(shan)。干祿無(wu)疆,子子孫孫。
惟中平(ping)三年(nian),歲在攝提(ti),二月震(zhen)節,紀日上旬。陽氣厥(jue)析,感思舊君。故吏韋(wei)萌(meng)等,僉然同聲,賃師孫興,刊(kan)石立表,以示(shi)后昆。共享天祚,億載(zai)萬年(nian)。
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gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)范(fan)(fan)(fan)(fan)成(cheng)錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)輔世錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)范(fan)(fan)(fan)(fan)國(guo)方錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)伯(bo)(bo)善錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)泛奉祖錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)德(de)(de)榮,故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)范(fan)(fan)(fan)(fan)利德(de)(de)錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)武(wu)章,故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)騶叔(shu)義,故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)宣(xuan)錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)孟(meng)光錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)五(wu)(wu)百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)吏(li)(li)(li)(li)(li)(li)(li)(li)韋(wei)(wei)(wei)(wei)孟(meng)平(ping)錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)三百(bai)(bai)(bai)(bai)(bai)(bai)。故(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)(gu)守(shou)令(ling)韋(wei)(wei)(wei)(wei)元(yuan)考(kao)錢(qian)(qian)(qian)(qian)(qian)(qian)(qian)(qian)五(wu)(wu)百(bai)(bai)(bai)(bai)(bai)(bai)。
此碑(bei)石于東(dong)(dong)漢靈(ling)帝(di)中平(ping)三(san)年(nian)(186年(nian))立碑(bei)于山東(dong)(dong)東(dong)(dong)平(ping)縣,是頌揚張遷(qian)執政(zheng)谷城時多施惠政(zheng)的政(zheng)績;碑(bei)陰刻有立碑(bei)官吏姓(xing)名及捐資(zi)錢數。
碑(bei)主張遷,字(zi)公方(fang),陳留己吾(今(jin)河南(nan)寧陵境內)人。曾(ceng)任谷城(cheng)(今(jin)河南(nan)洛(luo)陽(yang)市(shi)西北)長,遷蕩(dang)陰(yin)(今(jin)河南(nan)湯陰(yin)縣)令。碑(bei)文(wen)系故(gu)吏韋萌等為追(zhui)念其功德而立。碑(bei)文(wen)書(shu)法多(duo)別體,未(wei)署書(shu)者姓名(ming),刻(ke)石人為孫(sun)興。清(qing)初顧炎武《金石文(wen)字(zi)記》疑(yi)此(ci)碑(bei)為后人摹刻(ke),但多(duo)數考古學家和金石學家則(ze)認為,其書(shu)風(feng)通篇(pian)方(fang)筆,古樸拙(zhuo)茂,非漢代人不(bu)能為之,碑(bei)面(mian)剝落的痕(hen)跡,也非人為所能做到,因此(ci),當是漢代原碑(bei)無疑(yi)。
《張(zhang)遷碑》運(yun)筆(bi)(bi)(bi)(bi)(bi)以方(fang)筆(bi)(bi)(bi)(bi)(bi)為主,用筆(bi)(bi)(bi)(bi)(bi)逆鋒(feng)(feng)(feng)堅實,萬毫(hao)齊力(li),方(fang)圓兼(jian)備,沉著飽滿。橫(heng)(heng)畫(hua)(hua)兩端都見方(fang),粗重渾厚,有(you)萬鈞不屈之力(li),如“言”、“善”等字(zi)。書(shu)寫時(shi)(shi)萬毫(hao)齊力(li),行筆(bi)(bi)(bi)(bi)(bi)似有(you)反力(li)相阻(zu),右端回(hui)鋒(feng)(feng)(feng)上提(ti)(ti)收(shou)(shou)筆(bi)(bi)(bi)(bi)(bi),欲(yu)左先右,無往不收(shou)(shou)。“蠶頭雁尾(wei)”的(de)橫(heng)(heng)畫(hua)(hua)寫法也一樣,起筆(bi)(bi)(bi)(bi)(bi)處(chu)重頓(dun)(dun)(dun)后,漸提(ti)(ti)行筆(bi)(bi)(bi)(bi)(bi),正鋒(feng)(feng)(feng)而(er)行,筆(bi)(bi)(bi)(bi)(bi)壯墨飽,收(shou)(shou)筆(bi)(bi)(bi)(bi)(bi)時(shi)(shi)頓(dun)(dun)(dun)筆(bi)(bi)(bi)(bi)(bi)后迅速上提(ti)(ti),挺(ting)直凝重而(er)有(you)力(li)。豎畫(hua)(hua)的(de)用筆(bi)(bi)(bi)(bi)(bi)方(fang)法是落筆(bi)(bi)(bi)(bi)(bi)逆鋒(feng)(feng)(feng)向(xiang)上,提(ti)(ti)筆(bi)(bi)(bi)(bi)(bi)調(diao)(diao)鋒(feng)(feng)(feng)起筆(bi)(bi)(bi)(bi)(bi)處(chu)方(fang)厚飽滿,再調(diao)(diao)筆(bi)(bi)(bi)(bi)(bi)鋒(feng)(feng)(feng)向(xiang)下,豎鋒(feng)(feng)(feng)運(yun)筆(bi)(bi)(bi)(bi)(bi),收(shou)(shou)筆(bi)(bi)(bi)(bi)(bi)時(shi)(shi)或輕或重頓(dun)(dun)(dun)后,提(ti)(ti)筆(bi)(bi)(bi)(bi)(bi)向(xiang)上回(hui)收(shou)(shou)筆(bi)(bi)(bi)(bi)(bi)鋒(feng)(feng)(feng),如“之”、“中”、“尚”等字(zi)。折畫(hua)(hua)是在橫(heng)(heng)畫(hua)(hua)收(shou)(shou)筆(bi)(bi)(bi)(bi)(bi)處(chu)將筆(bi)(bi)(bi)(bi)(bi)鋒(feng)(feng)(feng)上提(ti)(ti),換向(xiang)后在原處(chu)入紙行筆(bi)(bi)(bi)(bi)(bi),轉折處(chu)方(fang)整斬(zhan)截又自然,略呈外方(fang)內圓,或內外皆方(fang),如“月”、“巾”等字(zi)的(de)折畫(hua)(hua)。
特別是(shi)此(ci)碑的(de)撇畫(hua)(hua)比絕大多(duo)數(shu)知名的(de)漢碑隸書都(dou)要(yao)豐富(fu)些,如“更”、“令”等字(zi),其寫法下筆(bi)(bi)如同豎畫(hua)(hua),藏(zang)鋒逆入,中鋒行筆(bi)(bi)順(shun)勢頓駐后(hou)逐漸(jian)上提后(hou)回收(shou)(shou)。撇畫(hua)(hua)是(shi)隸書中具有(you)特色的(de)筆(bi)(bi)畫(hua)(hua),由于(yu)是(shi)向左方運筆(bi)(bi),行時阻力大,力量強勁,圓(yuan)轉道健,筆(bi)(bi)力暢達,如“命(ming)”字(zi),部分(fen)字(zi)的(de)豎鉤也(ye)可看作撇畫(hua)(hua)的(de)一(yi)種,如“孝”字(zi)。撇畫(hua)(hua)的(de)妙處(chu)(chu)在于(yu)收(shou)(shou)筆(bi)(bi)的(de)變化(hua),因輕重、長(chang)短、斜(xie)度的(de)不同作相應處(chu)(chu)理,因此(ci)變化(hua)多(duo)姿。有(you)的(de)收(shou)(shou)筆(bi)(bi)回鋒圓(yuan)渾,有(you)的(de)收(shou)(shou)筆(bi)(bi)方截(jie),每(mei)一(yi)撇畫(hua)(hua)皆(jie)根(gen)據字(zi)形(xing)差(cha)異處(chu)(chu)理得恰到好處(chu)(chu)。
捺(na)畫(hua)(hua)也是此碑極為突出(chu)的(de)(de)筆(bi)(bi)畫(hua)(hua),主要(yao)是平(ping)捺(na)和(he)斜捺(na)。此碑捺(na)畫(hua)(hua)寫得(de)厚(hou)重而(er)雄(xiong)健,落筆(bi)(bi)取(qu)逆勢,調鋒后提筆(bi)(bi)行筆(bi)(bi),用力勻稱至(zhi)捺(na)腳稍頓后提鋒,然后順勢宛轉而(er)出(chu),筆(bi)(bi)鋒在空中作(zuo)收勢,給(gei)人(ren)一種樸拙(zhuo)但(dan)不刻板的(de)(de)感覺(jue)。如(ru)“吏(li)”字(zi)的(de)(de)捺(na)逆鋒起(qi)筆(bi)(bi),在行筆(bi)(bi)過程(cheng)中,逐漸(jian)用力漸(jian)行漸(jian)按,鋪毫向(xiang)右下行筆(bi)(bi),行至(zhi)捺(na)端,提筆(bi)(bi)右上輕(qing)出(chu),捺(na)腳似方似圓(yuan),力含(han)其中“敦”字(zi)之(zhi)捺(na)雖(sui)不粗壯,但(dan)筆(bi)(bi)畫(hua)(hua)含(han)力在內,雄(xiong)強剛勁,深沉有力。捺(na)畫(hua)(hua)落筆(bi)(bi)常(chang)作(zuo)蠶頭狀,捺(na)腳作(zuo)雁(yan)尾(wei)狀,與他碑橫畫(hua)(hua)“蠶頭雁(yan)尾(wei)”之(zhi)狀相合。
《張遷碑(bei)》結字巧(qiao)中有拙(zhuo),拙(zhuo)中寓巧(qiao),大巧(qiao)若拙(zhuo)。它(ta)完全去掉了雕飾的成(cheng)分,一(yi)任天然(ran),真可謂(wei)道法(fa)自然(ran),渾然(ran)天成(cheng)。字的各部(bu)分關系處理(li)得(de)非常生動,挪讓呼應,顧盼有情,憨態(tai)可掬。
在整體(ti)(ti)上雖扁方,整飭劃(hua)一,又(you)因字(zi)立形,順其自然,險中(zhong)求正,字(zi)體(ti)(ti)端莊樸茂(mao),筆短意長(chang),有些(xie)字(zi)突(tu)出主筆橫畫和捺畫,以盡其勢。全(quan)碑各字(zi)穩而不呆,動感強烈,動中(zhong)求穩,穩中(zhong)求變。神(shen)采(cai)奕然的(de)體(ti)(ti)態特征在形體(ti)(ti)、筆畫的(de)避讓、空(kong)間布(bu)白的(de)處理、平(ping)正與險絕(jue)的(de)錯落中(zhong)表(biao)現(xian)得淋漓盡致,看(kan)似(si)簡單,實則妙趣(qu)橫生,有“險絕(jue)”后“復(fu)歸平(ping)正”之感。
《張遷碑(bei)》章法不拘一(yi)格,生動活潑(po)。漢(han)代碑(bei)刻(ke)多(duo)有邊框方格,排列整齊,所以大部分漢(han)碑(bei)字(zi)形大小一(yi)致,平(ping)均擺放,給人(ren)中規中矩(ju)的(de)感(gan)覺(jue)。而(er)《張遷碑(bei)》卻獨樹一(yi)幟,通篇取茂密(mi)(mi)之勢(shi),但字(zi)間(jian)和(he)行間(jian)都無(wu)嚴(yan)格的(de)固(gu)定距離,疏(shu)(shu)與(yu)密(mi)(mi)適(shi)當,“疏(shu)(shu)處可以走馬,密(mi)(mi)處不使透風”。既嚴(yan)謹(jin)又(you)空靈,疏(shu)(shu)處闊綽而(er)不散(san)漫,達到了(le)疏(shu)(shu)與(yu)密(mi)(mi)的(de)對立統一(yi)。同時,字(zi)形大小參(can)差,正斜互(hu)用,疏(shu)(shu)密(mi)(mi)隨意(yi),但整體(ti)上又(you)相互(hu)呼應,左右顧盼,一(yi)派天(tian)真爛(lan)漫的(de)景象。
明·王世貞《州山人題跋》:“其書不(bu)能工,而典雅(ya)饒(rao)古(gu)意,終(zhong)非永嘉以后所(suo)可及也。”
清·孫(sun)承(cheng)澤《庚子消夏記》:“書(shu)法(fa)方(fang)整爾雅(ya),漢石中不多見(jian)者(zhe)。”
清·郭尚先(xian)《芳(fang)堅(jian)館(guan)題跋》:“漢碑(bei)嚴重(zhong)平硬,是碑(bei)為(wei)冠。”
清·楊守(shou)敬《平(ping)碑記》:“(此(ci)碑)用筆已開(kai)魏晉(jin)風氣,此(ci)源(yuan)始(shi)于《西狹頌》,流為黃初三碑《上(shang)尊號奏》《受禪表》《孔羨碑》之折刀頭,再(zai)變(bian)為北魏真(zhen)書《始(shi)平(ping)公(gong)》等碑。”
現代(dai)碑(bei)帖(tie)鑒定家蔣(jiang)文光:“《張遷碑(bei)》是漢(han)碑(bei)中藝(yi)術水(shui)平很高的(de)一件作品。書(shu)法渾厚方(fang)(fang)折(zhe),樸茂(mao)端嚴為(wei)(wei)漢(han)碑(bei)中方(fang)(fang)整類的(de)主要代(dai)表。書(shu)法用筆(bi)以方(fang)(fang)為(wei)(wei)主,兼(jian)用圓筆(bi)。筆(bi)畫(hua)端正,結體(ti)取勢平直,飽(bao)滿(man)嚴密,筆(bi)致樸質古拙遒勁靈動,多(duo)有(you)變(bian)化(hua)。同時,用筆(bi)與結體(ti)是相互(hu)為(wei)(wei)用的(de),不(bu)同書(shu)體(ti),其用筆(bi)亦有(you)所側重。筆(bi)致變(bian)化(hua)多(duo)端,往(wang)往(wang)在(zai)均衡的(de)橫直線(xian)條和方(fang)(fang)折(zhe)之(zhi)中摻以一筆(bi)極其熟練(lian)而有(you)力的(de)弧線(xian)。看去(qu)既(ji)筆(bi)筆(bi)挺勁,氣勢雄渾,卻又在(zai)拙樸中見秀美,在(zai)端重中顯生(sheng)動。全(quan)碑(bei)字字生(sheng)動,變(bian)化(hua)生(sheng)新,樸實自然,從而達到全(quan)局皆活(huo)的(de)奇(qi)妙(miao)效(xiao)果。”
《張遷碑》對(dui)清代(dai)隸書(shu)影(ying)響極大,直至近(jin)代(dai)仍有著獨(du)特的地位。與東(dong)漢(han)(han)(han)時期其(qi)他名碑相比,它是對(dui)東(dong)漢(han)(han)(han)桓靈時期講究規(gui)則整飭(chi)的流行(xing)漢(han)(han)(han)隸的一種創新,為漢(han)(han)(han)碑帶來活(huo)潑的意態,注入了(le)新鮮的血液(ye)。該碑不僅(jin)為漢(han)(han)(han)人(ren)分書(shu)之代(dai)表,而(er)且其(qi)用筆結體(ti)之奇肆(si)跌宕已開(kai)魏(wei)晉風(feng)氣,對(dui)清代(dai)書(shu)法藝術的發展起了(le)承(cheng)啟的作用。
《張遷碑(bei)》于(yu)(yu)(yu)漢靈(ling)帝中(zhong)(zhong)平(ping)三(san)年(186年)立碑(bei)山(shan)東(dong)(dong)東(dong)(dong)平(ping)縣。明(ming)代初(chu)年被掘地(di)發現,最早(zao)著錄見于(yu)(yu)(yu)明(ming)代都穆《金薤琳瑯》。明(ming)初(chu)出(chu)土時立于(yu)(yu)(yu)東(dong)(dong)平(ping)儒(ru)學(xue)明(ming)倫堂(tang)前,當時銘文尚(shang)完好(hao)可讀。至明(ming)正德年間(1506—1521年),“東(dong)(dong)里(li)(li)潤色(se)”四字(zi)尚(shang)完好(hao),僅殘(can)缺五字(zi)。清乾隆間(1711—1799年),“東(dong)(dong)里(li)(li)潤色(se)”的“東(dong)(dong)”字(zi)泐(le)半,“潤”字(zi)的“水”旁僅存(cun)中(zhong)(zhong)點,“色(se)”字(zi)與下“君(jun)”字(zi)皆泐(le)大半。光(guang)緒十八年(1892年)碑(bei)毀于(yu)(yu)(yu)火,常熟翁氏就原(yuan)碑(bei)重新剔刻(ke),但神(shen)氣全非(fei),幸(xing)碑(bei)陰(yin)文尚(shang)完好(hao)如舊(jiu)。解放后(hou),在(zai)東(dong)(dong)平(ping)縣府(fu)院內建亭,將碑(bei)置(zhi)于(yu)(yu)(yu)亭內。1965年移岱廟炳靈(ling)門內,外置(zhi)玻璃(li)罩保護。1983年9月移于(yu)(yu)(yu)山(shan)東(dong)(dong)泰山(shan)岱廟碑(bei)廊,后(hou)一(yi)直陳(chen)列(lie)收藏于(yu)(yu)(yu)此。現殘(can)泐(le)六十八字(zi),其中(zhong)(zhong)二十二字(zi)全泐(le)。