27005 《甲骨文條幅》，董作賓，縱126 橫28.5，1956。

文：我昔少年日，為樂不知秋。自作秦淮客，初為吳越游。白衣千萬乘，花下一漁舟。縱為十日飲，客去室幽幽。
國立歷史文物美術館惠存 中華民國四十五年二月廿四日寫簡秦齋甲骨集古詩一首於臺北靜龍里庽之平廬
印：董作賓、彥堂長壽、南陽董作賓六十歲以後書

董作賓（1895-1963），原名作仁（入學後名），字彥堂，號平廬。河南南陽人。知名文史學者，在考古學、殷商史、文字學、書法及篆刻藝術等方面頗有貢獻。曾任福建私立協和大學、國立中州大學教授，國立中山大學副教授，國立臺灣大學文學院和臺灣省立師範學院教授。1951年1至1955年8月，任國立中央研究院歷史語言研究所所長。
此件作品以甲骨文集古詩而成，通篇氣質古雅秀致，表現出較多墨書甲骨的趣味。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Dong Zuobin, originally named Zuoren (after starting his studies), has the courtesy name of Yentang and the pseudonym of Pinglu. He was born in Nanyang, Henan. He was a famed scholar in literature and history and made considerable contributions in archaeology, the history of the Shang dynasty, the analysis of characters, calligraphy and the art of seal carving. He worked as a professor in private Fukien Christian University and National Chung Chou University of Science and Technology, as an associate professor in National Sun Yat-sen University, and as a professor in the College of Liberal Arts of National Taiwan University and in National Taiwan Normal University. From January 1951 to August 1955, he worked as Director of Institute of History and Philology of Academia Sinica.
This piece is a collection of ancient poems written in the Oracle bone script. The entire piece has an antique and elegant aura and demonstrates an interesting way of writing the Oracle bone script in ink.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

32454 《篆書條幅》，奚南薰，縱134.5 橫55.5，1971。

文：雲開泰華插遙空，我是山中采藥翁。何日胡塵掃除盡，敷谿道上醉春風。 辛亥孟冬書放翁詩 墨孫奚南薰
印：昆陵奚氏南薰、墨孫書瀚印記

奚南薰（1914-1975），號墨孫、墨蓀、玄孫、蜀玄翁，江蘇武進人。奚南薰兼善醫學及書法，民國41年榮登中醫特考榜首，隔年於臺北開業。曾任衛生署中醫委員會主任委員、臺北市中醫公會理事長、中國醫藥學院教授等職。書法方面兼善篆、隸、行、楷，篆隸尤精懸腕書，所著《奚南薰篆書集》更曾獲教育部文藝獎。
此作傳承規矩嚴謹的清代小篆名家書風，結體瘦長，疏密勻稱，方圓並用，別出意趣。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Xi Nanxun, with the pseudonyms of Mosun, Xuansun, Shuxuanweng, was born in Wujin, Jiangsu. Xi Nanxun was specialized in medicine and calligraphy. In 1952, he ranked number one in the special examination for Chinese Medicine Practitioners and started his practice in Taipei the next year. He once worked as chairperson of the Chinese Medicine Committee of the Department of Health, President of the Taipei Chinese Medical Association and as a professor in the China Medical University. Among the calligraphy scripts, he mastered the Seal, Clerical, Running and Regular Scripts. He was especially good at the Seal and Clerical Scripts. His publication Xi Nanxun Seal Script Collection won the Literary and artistic creation award of Ministry of Education.
This piece is written in the formal and careful style of Small Seal Script of famed Qing Dynasty calligraphers. The characters are slender and evenly distributed with both squared and rounded corners, creating a unique atmosphere.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

26919 《隸書條幅》，張隆延，縱118 橫45，1959。

文：淩胡卒寬魂以，己卯日出塞
宋拓夏承碑中之法彷彿可見
印：千萬
乙酉到官平始、始建國天鳳元年王門大煎都矣完堅折傷薄、右厭胡遂卒四人
日人頗重此簡以為結體用筆近禮器
戌人能樸茂亦復可憙
印：豹變、子張
丟矢六百其九十三羽完千岸呼
印：日利
昆侖第三匈
印：長年
扁書亭隊顯處合盡諷回度舉毋光
褒余到摩厓得弜直廉秀之趣
己亥七月作
印：隆延、法學博士、目以神寓、弘文按理
張隆延（1909-2009），本名龍炎，後改名隆延，字十之，號罍翁。江蘇南京人。祖父韶臣公為前清軍門提督，積功任蘇淞鎮總兵，定居南京；父鑒泉公，蔭二品，任郵傳部郎中。出身金陵世家的張隆延，家中收藏亦頗豐富，自幼耳濡目染之下，對金石書畫均有極高造詣。
其於書法及史論亦多建樹，此件作品係以新出土的漢簡作為臨習範本，形象甚得簡牘之趣；又加註解說明與其他漢代碑刻的關聯，洵為佳作。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Chang Leong-Yien has the courtesy name of Shizhi and the pseudonym of Leiweng. He was born in Nanjing, Jiangsu Province. His grandfather Chang Shao-Chen was a provincial military commander in the former Qing Dynasty. He was later promoted to the position of division commander of Susong Town and settled down in Nanjing. His father Chang Jian-Quan inherited the second official rank and served as assistant minister in the Ministry of Posts and Communications. Coming from a renowned family in Jinling, Chang Leong-Yien had an extensive art collection at home. Growing up in this environment from an early age, he was well-cultured in the art of epigraphy calligraphy and ink wash painting.
He also made great contribution to calligraphy and historical commentaries. This work imitated a newly discovered slip from the Han Dynasty and the appearance captured the essence of the slip script. In addition, it included notations and explanations of the connection with the other stone engravings of the Han Dynasty, making it an outstanding piece.

This audio guide is made by National Taiwan Library.
Docent: Chen Yu-Jung (陳毓容)

72-00455 《移居詩隸書中堂》，曹容，縱139 橫50，1934。
文：三千何處是蓬萊，翠竹緗桃證此栽。春煗龢鶯吟籟去，華然看櫂問津來。浩歌待月宜尊酒，大樹翻風豈廟材。它日便逢樵牧侶，但尋芳草到巖隈。
武韻于瑜民移居詩四首之一。甲戌新秋老嫌秋圃并隸 印：秋圃字水如號菊癡、澹廬、書道禪

曹容（1895-1993），字秋圃，號老嫌，齋號澹廬。詩、畫均擅，並且一生致力於書法的教學，是臺籍書家中極為重要的一位前輩。他的書法以隸書與行草居多，隸書上承呂世宜，兩漢隸法，平樸直入，寓變化於平穩；行草融合顏真卿、劉墉、張照等，氣度恢宏，筆力遒健。晚年用筆粗澀鈍拙，實踐「寧拙勿巧」的精神，天真爛漫，塑造了一種獨特的個人風格。
此作整體構成妥貼，文字排列工整與空間比例均等分散，淡雅而別有韻味，線條力道平穩沉著，甚得漢隸古樸之美。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Tsao Jung has the courtesy name of Qiupu and the pseudonym of Laoxian. His study title was Danlu. He was a master in poetry and painting. He dedicated his entire life in the teaching of calligraphy and was an important pioneer in calligraphy in Taiwan. His calligraphy consisted mainly of the Clerical, Running and Cursive Scripts. His Clerical Script was learned from Lu Shiyi and was in the style of the Clerical Script of the Han Dynasties. The technique was plain and straightforward while enveloping changes in stability. His Running and Cursive Scripts combined the styles of Yan Zhenqing, Liu Yong and Zhang Zhao. The brushes demonstrate a magnificent spirit and power. In his senior years, his brushes became rather blunt and clumsy with the aim of realizing the spirit of "better clumsy than tricky". The innocent spirit created a unique personal style.
This piece has a well-organized structure, with finely aligned characters and evenly distributed space. The style is elegant and charming. The lines are stable in power. It fully embodies the simple beauty of the Clerical Script of the Han Dynasty.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

26993 《節行書狀楷書短幀》，賈景德，縱68 橫43，民國。

文：邈乎，嵩岱之峻極爛。若列宿之麗，天偉字挺，特奇書秀出，揚波騁藝餘好，宏逸虎踞。鳳跱龍伸，蠖屈資胡氏之壯傑，兼鍾公之精密，總二妙之所長，盡要蔑乎？
文質 韜園賈景德
印：賈景德印、煜如

賈景德（1880-1960），字煜加，號韜園，山西沁水人。中山西鄉試舉人，與書法名家「三百年一草聖」之于右任同榜，翌年成進士。早年擔任閻錫山的秘書，歷任行政院秘書長、考試院院長等職。善長書法，筆力雄厚，除了在臺北孔廟撰寫碑文之外，在苗栗公館修行寺、臺北艋舺龍山寺、三峽祖師廟、輔仁大學都可見其書法題字，此件作品純以顏真卿筆法而成，甚得顏體方正之姿，工整規矩，筆筆有力。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Jia Jingde, with the courtesy name Yujia and the pseudonym Taoyuan, was born in Qinshui County, Shanxi Province. He passed the imperial exam and became a provincial graduate in west Zhongshang in the same year as Yu Youren, the "modern sage of cursive script." He became an imperial scholar the next year. He served as secretary for Yan Xishan in his early years and later became Secretary-general of the Executive Yuan and the Minister of the Ministry of Examination. He was a master in calligraphy and demonstrated strong power in his brushes. In addition to writing stone carvings in Taipei Confucius Temple, he also left calligraphy works in Miaoli Gongguan Xingxiu Temple , Taipei Lungshan Temple, Sanxia Qingshui Zushi Temple and Fu Jen Catholic University.
This work is written purely in the style of Yan Zhenqing and captured the squared appearance of the style and the block script while demonstrating sufficient power in each brush.

This audio guide is made by National Taiwan Library.Docent: Chen Yu-Jung (陳毓容)

79-00133 《康南海論書詩行草條幅》，臺靜農，縱179 橫41，民國。

文：鐵石縱橫體勢奇，相斯筆法孰傳之？漢經以後音塵絕，惟有龍顏第一碑。餐霞神采絕人煙，古今誰可稱書仙；石門崖下摩遺碣，跨鶴驂鷥欲上天。
康南海論書詩，靜農於歇腳盦
印：臺靜農、一食清齋、靜者白首攻之

臺靜農（1902-1990），原名傳嚴，二十年代初，改名靜農，字伯簡，晚號靜者，筆名有青曲、孔嘉、釋耒等。臺靜農除學問之外，悠遊藝苑，無入而不自得，其古典詩歌、新詩、小說之創作，早歲已卓然可觀。來臺後至臺灣大學中文系任教，職掌系務長達二十年，臺大中文系之學風與規模賴其奠定，培育人才無數，貢獻卓著。晚年以書法名家，書學倪元璐，得其神髓，兼能出入草隸，自成一格。
此件作品線條抑揚頓挫，加上斜側顛盪的佈置，使觀者在流覽時體驗到連串張力造成的視覺快感。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Tai Jingnong, originally named Chuanyan, changed his name in the early 1920s. His courtesy name was Bojian and his pseudonym in his senior years was Jingzhe. His pen names included Qingqu, Kongjia and Shihe. Tai Jingnong not only dedicated himself to his studies but also to the realm of arts. He demonstrated skills in all of the fields. His classic poems, new poems and novels accumulated in abundance in his early years. After migrating to Taiwan, he taught in the Department of Chinese Literature of National Taiwan University and managed the departmental affairs for twenty years. The academic environment and the scale of the Department were his accomplishments. He cultivated numerous talents and made a significant contribution. In his senior years, he imitated the style of Ni Yuanlu and captured his spirit. He became a famed calligrapher who mastered the Cursive Script and the Clerical Script and created his own style.
This piece demonstrates pronounced lines and a tilted structure, creating a visual pleasure for the viewers through the streams of tension.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

27000 《行草條幅》，莊嚴，縱114 橫29.5，1965。

文：長安又到人徒老，吾道何時定復東。題柱扁舟真老矣，竟無事業奏膚功。
五十四年秋 嚴
印：莊嚴印信

莊嚴（1899-1980），字尚嚴，號慕陵，晚號六一翁，是一位古文物專家、藝術史學者以及書法家，以瘦金體書法聞名，曾任國立故宮博物院副院長。
莊嚴對宋徽宗的瘦金書尤為偏好，惟因融和薛稷、褚遂良書體，轉折處較圓，字體姿態較多，剛中現柔，別具風姿。行草書則有趙孟頫的神韻又融和瘦金書的筆法及丰采。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Zhuang Yan, with the courtesy name of Shangyan and the pseudonyms of Muling and Liuyiweng in his senior years, was an expert in ancient artifacts, a scholar in the history of fine arts and a calligrapher. He was renowned for the slender gold style. He once served as deputy curator of the National Palace Museum.
Zhuang Yan was especially fond of the slender gold style of Emperor Huizong of Song. However, he also combined the styles of Xue Ji and Chu Suiliang. Therefore, the corners are more rounded and the characters demonstrated various flavors, enveloping softness within the solid brushes and are therefore unique. His Running Script and Cursive Script, on the other hand, demonstrated the charm of Zhao Mengfu and combined the techniques and glamor of the slender gold style.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

27017 《行書條幅》，王壯為，縱135 橫60，民國。

文：用筆者天，流美者地。陰陽既生，乃立形勢，有物有則，與體俱詣，舒而不慢，密乃無際，骨恆勝肉，法必副意。
王壯為
印：壯為、目耕肘書
王壯為（1909-1998），本名沅禮，以字行，號漸齋、漸翁、忘漸老人。河北易縣人。歷任軍、政、銀行、教育等部門職務。善書法，與篆刻皆臻妙境，渡臺後組[十人畫會]、[海嶠即集]，為臺灣書法篆刻界導師。曾為國立臺灣師範大學教授、文化大學藝術研究所教授、篆刻學會常務理事、臺北故宮博物院顧問、為臺灣當代重要書家之一。
此作用筆剛健方折，傲骨透發，以彰揚其險勁的喜好。結體常有左高右低的斜傾現象，以增加動態，落款短捷有力，將碑刻之美與帖寫之美巧妙的融成一氣，足堪玩味。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Wang Zhuangwei, originally named Yuanli, usually goes by his courtesy name. His pseudonyms are Jianzhai, Jianweng and Wangjianlaoren. He was born in Yi County, Hebei. He worked in various segments, including the military, government, banks and education. He was a master in calligraphy and seal carving. After migrating to Taiwan, he established the Ten Calligraphers’ Association and the Haiqiao Seal Collection. He was a revered teacher in calligraphy and seal carving in Taiwan. He worked as a professor in National Taipei Normal University, as a professor in Graduate Institute of Arts of Chinese Culture University, as an executive director of the Seal Carving Association and as a consultant in the National Palace Museum. He was one of the important contemporary calligraphers in Taiwan.
The piece demonstrates powerful brushes and squared corners, exuding a proud spirit and a fondness for risky techniques. The characters are often tilted with the left end higher than the right end to create more movement. The signature is short and powerful, wonderfully combining the beauty of engraving and scroll writing to raise curiosity.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

26957 《 孟浩然過故人莊詩草書中堂》，于右任，縱133.5 橫65，民國。

文：故人具雞黍，邀我至田家。綠樹村邊合，青山郭外斜。 開軒面場圃，把酒話桑麻。待到重陽日，還來就菊花。孟浩然過故人莊
于右任
印：右任

于右任（1879-1964），陝西三原人，祖籍涇陽。原名伯循，字誘人，爾後以「誘人」諧音「右任」為名；別署「髾心」、「髯翁」，晚年自號「太平老人」。早年係中國同盟會成員，民國成立之後長年在政府擔任高級官員，尤其擔任監察院院長長達34年，是歷史上在任最久的五院院長。
其書法從北碑入手，後致力於標準草書，點畫線條不落入碑體書法講求刀刻或漫漶趣味之俗套，反而以自然生動的筆法取代，書寫出醇厚遒勁的圓潤線條，賦予嶄新的生命力。此件作品即以標準草書所完成的精彩作品，線條圓潤而氣力內蘊。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Yu Youren was born in Sanyuan County, Shaanxi Province, and his ancestral hometown was Jingyang County. His original name was Boxun and was later renamed Youren based on the similar pronunciation of his courtesy name. He also had pseudonyms of "Shaoxin" and "Ranweng". In his senior years, he referred to himself as "peaceful elderly man". In his early years, he was a member of the Tongmenghui. After the founding of the Republic of China, he served various posts as high officials in the government for many years. Among which, he served as the President of the Control Yuan for 34 years, which made him the longest-serving President among the five Yuans in the entire history.
His calligraphy started from inscribed writing. Later, he dedicated himself to the standard Cursive Script. His dots and lines did not conform to the normal knife-carving or blurred touch of the stone carving calligraphy. Instead, he executed the calligraphy with a natural and vivid brush technique to create rounded lines that exhibited power and fresh vitality. This work is a masterpiece of the standard Cursive Script. The lines are rounded and the power is contained within.

This audio guide is made by National Taiwan Library.Docent: Chen Yu-Jung (陳毓容)

26967 《行書對聯》，朱玖瑩，縱135 橫32，1962。

文：重簾不卷留香久，古研微凹聚墨多。
壬寅 朱玖瑩
印：湖南長沙朱氏、玖瑩翰墨

朱玖瑩（1898-1996），因晚年曾居於臺南安平而自號安平老人、安平久客，堂號為師掃帚齋，中國湖南人，中華民國政治人物與書法家，曾擔任過湘軍總司令部政務委員兼秘書、內政部土地司司長、衡陽市長、湖南省民政廳長、財政部鹽務總局局長兼臺灣製鹽總廠總經理等職，1968年退休後隱居於臺南安平。
公暇之餘則追隨譚延闓先生鑽研顏真卿書法，得以觀其用筆要訣，未曾間斷，是一脈相傳的顏體嫡系傳人，此件書法以顏體為基，體態寬綽，筆勢自然，行筆自在，圓熟樸厚。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Zhu Jiuying gave himself the pseudonyms of Anping Elderly Man and Anping Resident Guest because of the fact that he lived in Anping, Tainan in his senior years. His ancestral title was Shisaozhouzhai. He was born in Hunan, China and was a statesman and calligrapher of the Republic of China. He once served as Minister of State and secretary of the Hunan military general command, Director-general of the Department of Land Administration of the Ministry of the Interior, Mayor of Hengyang City, Director-general of the Department of Civil Affairs of Hunan Province, Director of the Salt Affairs Main Office of the Ministry of Finance and the General Manager of the main salt factory of Taiwan. He lived a quiet life in Anping, Tainan after his retirement in 1968.
During his leisure time, he studied the calligraphy of Yan Zhenqing with Mr. Tan Yankai and observed his brush techniques closely without interruption. Therefore, he was an authentic successor of the calligraphy in the style of Yan Zhenqing. This work is based on Yan's style, with broad brushes and natural curves. The brush technique was flowing with maturity and simplicity.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

32196 《一竿獨秀》，鄭曼青，縱97 橫34.5，1957。

文：與可力求真，東坡味頗醇。二公呼不起，我復學何人。丁酉冬日玉井山人曼髯並題
印：曼髯，玉井山人、十人介介

鄭曼青（1902-1975），浙江溫州人，其幼年孤貧，隨母親習詩書，從汪香禪學畫。因兼擅詩、書、畫、太極拳和中醫等，有「五絕老人」之譽。繪畫風格，花鳥由工筆入手，後有寫生花鳥之作，受八大、青藤、吳昌碩影響；山水學習宋元名家，受夏圭、黃子久影響。
《一竿獨秀》紙本水墨設色。全作無背景，主要描繪一枝獨秀、挺拔玉立的竹子。本作以濃淡不一的墨色表現竹葉之主從、遠近，淡雅自然、畫風古樸，運筆用墨間揮灑自如，展現竹的神韻與氣節。而竹子本身所寓意的正直清高、清秀俊逸，也正是作者對人格的一種想望追求。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Cheng Man-Ching was born in Wenzhou, Zhejiang. He lost his father and lived in poverty during his childhood. He learned poetry and calligraphy from his mother and learned painting from Wang Xiangchan. He was famed as "Elderly Man with Five Masteries" for his mastery in poetry, calligraphy, painting, Tai Chi and Chinese medicine. His painting style of flower and birds started from court-style and later began to incorporate life drawing. His work was influenced by Bada Shanren, Green Vine (Xu Wei) and Wu Changshuo. For landscape painting, he studied the style of the famed painters of the Song and Yuan Dynasties and was influenced by Xia Gui and Huang Gongwang.
The piece "Single Bamboo" is an ink wash painting on paper. The piece does not have any background and only consists of a single bamboo standing tall and elegant. The bamboo leaves are presented in different shades of ink in order to distinguish the priority and distance. The style is light, elegant and natural with a classic and simple touch. The brushes and the usage of ink were flowing and demonstrated the charm and spirit of the bamboo plant. In addition, the dignity and integrity, elegance and handsomeness symbolized by the bamboo plant itself was also the personality that the painter desired.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

31963 《松泉岩谷》，傅狷夫，縱120.5 橫60.5，1968。

文：松泉生逸響，巖谷有奇姿。戊申冬仲，傅狷夫寫於有所不為齋。
印：傅狷夫印、有所不為齋

傅狷夫（1910-2007），浙江杭州人，書畫造詣固深，受徐悲鴻「以西潤中」論點影響，醞釀中西合璧之創作觀。來臺後發展出獨特的「連綿草」書體，不為早期交通困境所挫，不懈寫生臺灣山岳、雲海、浪濤等題材入畫，捕捉阿里山、橫貫公路等壯麗景致。
《松泉岩谷》以水墨設色描寫矗立山谷的蒼勁松林與溪谷間匯流之大小飛瀑流泉。以古法與西畫技法交融冶煉出描寫臺灣自然山水、煙嵐雲海的筆法形式，開創以「裂罅皴」畫山石、「點漬法」寫浪濤、「染漬法」染雲煙，「雄」與「秀」相得益彰，剛柔並濟，開創水墨畫新紀元，而有「臺灣山水的代言人」之譽。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Fu Chuan-Fu was born in Hangzhou, Zhejiang. He had mastery in calligraphy and painting and was also influenced by Xu Beihong's idea of "enriching the oriental with the occidental". Therefore, he developed a creative philosophy of combining the oriental with the occidental. After migrating to Taiwan, he developed a unique "unbroken cursive" script. He was not frustrated by the difficult traffic situation in the early years and kept on working with life drawing of the mountains, sea of clouds and waves of Taiwan, capturing magnificent landscapes such as Alishan and the Central Cross-Island Highway.
The piece "Pine, Creek, Rock and Valley" is painted in ink, depicting the tall pine forests in the valley and the converging waterfalls of various sizes in the dales. The traditional techniques and those of the western painting were combined and refined to depict the natural landscape, the mist and the sea of clouds of Taiwan. The broken texture for mountains and rock, the dotting technique for waves, and the stain technique for cloud and smoke were all pioneering techniques. The magnificent and the delicate, the solid and the soft complemented each other. A new era of ink wash painting was thus created. Therefore, he is famed as the "spokesperson of the landscape of Taiwan".

31981 《太魯閣之春》，呂佛庭，縱139 橫59.5，1968。

文：戊申九月寫臺灣太魯閣之春於臺中江山萬里廔，呂佛庭
印：呂佛庭印、半僧

呂佛庭（1911-2005），河南省泌陽縣人。初習西畫，後轉習國畫。來臺後推動藝術教育不遺餘力。書法以楷書最著，發展介於楷隸之間，並揉合〈泰山金剛經〉摩崖書以及篆籀筆意之「呂體」書風，圓勁樸厚。1970年代開始以潑墨法嘗試「禪意畫」，更轉化漢字的象形符號，自創「文字畫」，成為介於文字學、書法與繪畫之間，極具巧思之獨創藝術形式。
《太魯閣之春》，描繪中部橫貫公路之太魯閣春景，以水墨設色寫其巉巖峭壁之景，並以紅、白、粉色之彩墨點染出峽谷間紛紛綻放之櫻花麗色。前景右下山谷邊並以一名原住民裝扮之人物以頭頂物立於峽谷入口處。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Lu Fo-Ting was born in Biyang County, Henan Province. He first started learning western painting and later switched to learning the traditional Chinese painting. After migrating to Taiwan, he was fully dedicated to promoting the fine arts education. In calligraphy, he is famed for his Regular Script. He developed the "Lu style", which was a combination of the Regular and the Clerical Script and incorporated the styles of the Sutra Stone Valley at Mount Tai and seal script. The style is rounded, powerful and simple. Since the 1970s, he started his attempts at Zen painting with the splash technique. He also transformed the Han characters into original character paintings, which became a well-designed unique art form incorporating the Analysis of Characters, calligraphy and painting.
The piece "Spring in Taroko" depicts the spring scenery in Taroko on the Central Cross-Island Highway. The cliff is painted in ink, and the bright cherry blossoms in the canyon are painted in red, white and pink dots. On the side of the valley in the bottom-right corner in the front section, a person dressed in aboriginal clothing stands at the entrance of the canyon holding an object on the head.

27087 《山水》，黃君璧，縱182 橫94，1960。

文： 石磴盤紆古木稠 ，林泉如此極清幽 。若為飛屩千峰外 ，卜築誅茆最上頭 。庚子夏日畫於白雲堂黃君璧
印：南海黃氏、君璧畫印
黃君璧（1898-1911），廣州南海人。現代著名國畫藝術家、教育家。家藏甚富。早年畢業於廣東公學，後從畫家李文顯遊，並與粵東藏家交往。致力於山水畫，尤以畫雲水瀑布為長。
此幅《山水》山石皴法造型特殊。山岩矗立，由前至後，在矩形岩壁的側面，以重複的平行輪廓線層層包覆，中景及遠峰的皴法甚至呈矩型環繞。平行輪廓推移時，又向右上(或左上)佔據空間，顯出體積感。這種手法，與石谿〈報恩寺〉一類畫作相近。畫作草葉繁茂，苔點細密。但用筆愈趨凝重剛強，結體愈趨渾厚堅實，黃君璧自家面貌。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Huang Jun-Bi was born in Nanhai, Guangzhou. He is a famed contemporary traditional Chinese painting artist and educator. He has an extensive art collection at home. He graduated from a public school in Guangdong and studied with the painter Li Wenxian. He also befriended collectors in the eastern Guangdong region. He was dedicated to painting landscapes, with a special mastery in painting clouds, water bodies and waterfalls.
This piece "Landscape" shows a unique texture of mountains and rocks. The rocky mountains stand tall from the front to the back. On the side of the squared rocky mountainside, parallel silhouettes are layered repeatedly. The texture of the mid-section and the mountains in the back was presented in a squared surrounding method. As the parallel silhouettes move along, they take up space in the upper-right or upper-left direction, creating volume. The technique is similar to the piece "Baoensi" by Shixi. The grass leaves are dense and the moss dots are crowded. But as the brush goes heavier, the body becomes thicker and more solid. This is Huang Jun-Bi's unique style.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

27133 《山水》，馬壽華，縱114.5 橫56.5，1956。

文：夕陽雲木秀，秋雨石泉清。王貽上詩意，丙申秋日，馬壽華指畫。
指畫創自唐代張璪，後之傳者不多見，明季傅清主偶用指寫蘭石，至清高其佩、李世倬、蘇虛谷均喜為之，且園尤稱精擅。然以指作畫多病粗燥，獷悍必能清潤秀逸而有氣韻乃為畢其能事，壽華又識。
印：馬壽華印、木軒指畫、借我指寫我意

馬壽華（1893-1977），安徽渦陽人，自幼即酷好繪畫，業餘兼事書畫，對宋元明清歷代畫家有深入 的研究，擅長墨竹、山水、指畫、花卉，以及書法。為司法界元老、財政專家、著名書畫家。擅畫山水、花卉、尤精墨竹，更精指畫。書工行楷，宗二王，習顏米，行書溫潤秀逸，高雅絕倫。
此幅《山水》左下角繪巨石平臺旁，數棵老樹姿態各異，生長旺盛，下端中間平臺上繪姊妹亭一組，下端江水清測，山間小徑沿山壁前進，畫中段畫數排林木，溪水涓涓流動，後面一層雲霧隔開，另一段層層山峰景綿延，整幅畫作清新雅緻。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Ma Shou-Hua was born in Guoyang, Anhui. He was fond of painting since childhood. During his leisure time, he studies calligraphy and painting. He had a profound understanding of the painters of the Song, Yuan, Ming and Qing Dynasties. He was a master in the ink wash painting of bamboo, landscape, finger painting, flowers and calligraphy. He was also a pioneer in the judicial field, an expert in finance, a famed calligrapher and painter. His expertise was in painting landscape, flowers and especially in the ink painting of bamboo. His finger painting was even more extraordinary. He mastered the Running and Regular Scripts of calligraphy. He learns from the two Wangs and studied the styles of Yan Zhenqing and Mi Fu. His Running Script was smooth and elegant without rival.
This piece "Landscape" depicts a few well-grown old trees, each with a different look, situated by a giant rock platform. On the bottom-center end, a pair of pavilions sit on a platform. On the bottom end, a clear creek flows by. A quiet trail in the mountains pushes forward on the mountainside. In the mid-section of the painting, a few rows of trees are painted along with a flowing river. In the back, a layer of cloud and mist separates the section from the next, which consists of layers of mountains. The entire painting is refreshing and elegant.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

74-00963 《山水》，孫雲生，縱68.5 橫34，1974。

文：山靄籠嘉樹，層巖深野泉。高人於此住，所得靜中緣。
甲寅七月 孫雲生家瑞
印：孫家瑞、雲生

孫雲生（1918-2000），河北寧河人，追隨張大千長達47年。作品工整秀雅，山水、人物、花鳥、蟲草均擅，設色亮麗。其工筆、寫意、潑墨、潑彩皆運用自如，畫面融合傳統與近代的筆法和氣息，被臺海兩岸藝壇譽稱為第一流畫家。
《山水》紙本設色，右下角為大片青綠潑墨江邊岩壁，層次分明，高聳雄奇。江水蜿蜒而上，小船上兩人正享受山水的寧靜，小橋過江山泉直下，山峰頂上雲霧飄渺間屋舍掩映，宛如人間仙境。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Sun Yun-Sheng was born in Ninghe, Hubei. He studied with Chang Dai-Chien for 47 years. His work is carefully executed, delicate and elegant. He had mastery in landscape, people, flower and bird, insects and plants. The use of colors is vivid. His court-style, free-spirited, ink splash and color splash techniques are all utilized with ease. The composition combines the traditional and the modern techniques and touches. He was famed as a first-class painter by the fine arts field on both sides of the Taiwan Strait.
The piece "Landscape" was painted on paper. In the bottom-right corner, there is a large block of bluish-green ink splash depicting the rocky mountainside alongside the creek. The layers are distinctive and the mountainside is tall and magnificent. The creek stretches upwards in a zigzag manner. In a small boat, two people are enjoying the serenity among the mountains and the water. A small bridge crosses the creek and stretches downwards. The cloud and mist on top of the mountain veil the cottages and create a heavenly atmosphere.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

27223 《清水斷崖》，張穀年，縱135 橫69.5，1968。

文：清水斷崖。臺灣八景之一。
中華民國五十七年十二月 張穀年
印：張穀年印

張穀年（1905-1987），江蘇省武進人。幼時失怙，舉家遷居上海，由舅父馮超然照應，因此機緣隨馮習畫。時藝壇名家吳湖帆、陸廉夫、王一亭、吳昌碩、吳子深、王同愈、張大千、費龍丁等皆為馮超然座上客，談文論藝、切磋心得。青少年時期的張穀年隨侍在側，耳濡目染，潛移默化，醞釀出寬廣而豐沛的視野和人文基礎，與隨時開拓新境的能力。
張氏16歲訂潤鬻畫，早從四王上探元四家，直叩董、巨之門，刻意寫生，不輕言創作。其書畫造詣精深宏博，山水風格健拔，幽邃，沉雄，蒼潤，為藏家寶愛。寫生作品融合且跳脫傳統繪畫的束縛，創作出和時代相契合的新容貌。張氏為中國美術協會發起人之一，曾於多所大學任教，誨人不倦，桃李天下。
《清水斷崖》以寫生筆法描寫蘇花公路清水斷崖一景，劇力萬千，絕景再現。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Zhang Gu-Nian was born in Wujin, Jiangsu. He lost his father at a young age, and began to study painting from his uncle Feng Chaoran. Famed artists at the time, such as Wu Hufan, Lu Lianfu, Wang Yiting, Wu Changshuo, Wu Zishen, Wang Tongyu, Zhang Da-Qian, and Fei Longding were all guests in Feng Chaoran's home to discuss literature and art and to make exchanges. The young Zhang Gu-Nian accompanied them and learned in a gradual and subtle way. He developed a wide and abundant horizon and cultural foundation as well as an ability to explore new scope at any time. Zhang was one of the founders of the Chinese Fine Arts Association. He taught in various universities and cultivated numerous talented students.
The piece "Cingshuei Cliff" depicts the scenery of the Cingshuei Cliff on Su-Hua Highway through the life drawing technique. The dramatic tension and the magnitude of the cliff are vividly represented. The life drawing incorporated the style of traditional painting but was not restricted by the style. It created a new look that matched the era.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

27091 《阿里山神木》，劉延濤，縱146.5 橫79，1961。

文：神木高百尺，腰圍數十圍。閱世三千載，足下白雲飛。嬰龍行路，致使枝葉稀，來者皆下拜，去者情依依，及我入山深，高檜森成林。一一皆神木，況復多綠陰。終古戰烈風，誰識歲寒心。炎暑立其下，凜冽若秋夜。雨雪不到地，烈日不能射，老去中心空，委棄任凋謝，設移大道旁，值價應無價，嗚呼何代無，長材埋沒，空山伴草萊。屢。
五十年十月巡視嘉義至阿里山歸來寫此並題句，森林學者告余樹逾千齡則心空矣。劉延濤
印：延濤、為天墜心

劉延濤（1908-1998），生於清河南省鞏縣，逝世於臺灣永和。曾任監察委員。協助于右任十次編修《標準草書》，並著有《草書通論》，為「七友畫會」一員。
此幅阿里山神木國畫，保存良好，畫中阿里山神木，巨大樹幹頂天立地，左下角繪一白衣老人，似乎是劉延濤將自己入畫，以人物對比神木的巨大，神木後邊斜坡以淡墨繪樹林，右上角題神木高百尺等字。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Liu Yian-Tao was born in Gong County, Henan in the Qing Dynasty and died in Yungho, Taiwan. He once worked as a member of the Control Yuan. He assisted Yu Youren in the drafting and revision of the standard Cursive Script ten times. He authored the book "General Introduction of Cursive Script " and was a member of the Seven Friends Painting Association.
This traditional Chinese painting of the Alishan Sacred Tree is well preserved. The Sacred Tree painted in ink stands tall with a giant trunk. In the bottom-left corner, there is an elderly man dressed in white. It would appear that Liu Yian-Tao painted himself in the painting in order to contrast the amazing height of the Sacred Tree. The forests on the slope behind the tree was painted in light ink. In the upper-right corner, there is a phrase in calligraphy detailing the tree's height.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

33953 《竹梅石》，高逸鴻，縱138 橫69， 1973。

文：聲弄江城笛，風高韻亦長。貞堅人竝壽，五福溢華堂。
癸丑端陽前三日作於蘭香館臨安高逸鴻竝記
印：臨安高氏、逸鴻、臨安

高逸鴻（1908-1982），生於浙江臨安，擅長水墨與花鳥，其畫風生機蓬勃。早期作品致力於工筆，擅長花卉、翎毛、蟲魚，晚期創作融合書法入畫，改用水墨形式表現出寫意風格。1950年代起，書法兼擅四體，尤其行書特別受收藏家推崇與收藏。
《竹梅石》，紙本設色。畫面繪寫竹梅以及怪石，怪石由右下角斜出，厚重的色調，讓畫面整體穩重，暈染石面的筆墨，亦使用潑墨技法，層疊之間，厚重與變化兼具。而石後綠竹則直上畫面頂端，填以明亮的綠色，周邊又仔細描繪幾莖如筍的幼竹，再搭配竹後梅幹上的紅梅點點盛開，整幅流動著不盡的生意。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Gao Yi-Hong was born in Lin'an, Zhejiang. He was a master in ink wash painting and flower and bird. His style was abundant with life. His early works were dedicated to the meticulous style, with a mastery in flowers, feathers and fur, insects and fish. In his senior years, his work incorporated calligraphy in the painting and switched to the expressive ink wash painting style. Since the 1950s, his calligraphy showed mastery in four scripts, among which the Running Script was the most revered and collected among collectors.
The piece "Bamboo, Plum Flower and Rock" is painted in color on paper. The piece depicts bamboo, plum flower and a peculiar rock. The peculiar rock stems from the bottom-right corner. The heavy color stabilizes the entire painting. The bleeding ink on the surface of the rock was painted with the splash technique. Heaviness and change were both demonstrated among the layers. The green bamboo behind the rock stretches all the way to the upper end of the painting and is filled with bright green. On the side, there are a few thin young bamboos carefully depicted. Accompanied by the blossoming red plum flowers on the branches behind the bamboo, the entire painting shows an abundance of vitality.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)

32001 《鹿》，林玉山，縱119 橫58，1968。

文：延年益壽。戊申孟冬桃城散人，玉山寫。
印：英貴印、靜觀自得、中華民國國立歷史博物館收藏

林玉山（1907-2004），生於臺灣嘉義。15歲師學畫家伊阪旭江，在1926年前往東京，就讀於東京川端畫學校西畫科。1927年第1屆臺灣美術展覽會舉辦，林玉山與郭雪湖、陳進入選為東洋畫部的三位臺灣人畫家，被稱為「臺展三少年」。林氏擅繪動物，尤其是龍虎，並以其膠彩及水墨作品著稱。作品《蓮池》被文化部文化資產局登錄為中華民國國寶，成為臺灣近代化畫家首件國寶級作品。
林玉山畫鹿最為眾人熟悉，其用筆熟練，描寫深林間梅花鹿的悠閒自若神貌，誠屬佳品。

本語音導覽由國立臺灣圖書館製作，華語導覽：洪禮明。

Lin Yu-Shan was born in Chiayi, Taiwan. In 1926, he travelled to Tokyo to begin studying western painting at the Kawabata Painting School. In 1927, the first Taiwan Exhibition was held. Lin Yu-Shan, Guo Xue-Hu and Chen Jin were the three Taiwanese painters selected into the oriental painting section. They were then referred to as the "Three Youths of the Taiwan Exhibition". Lin mastered the art of painting animals, especially dragon and tiger. He was also famed by his gouache painting and ink wash painting. His work "Lotus Pond" was designated as national treasure by the Bureau of Cultural Heritage, Ministry of Culture and has become the first-ever modern painting by Taiwanese painter to receive designation as national treasure.
Lin Yu-Shan was best known for painting deer. His strokes were experienced. His work in depicting the relaxed look of the Formosan sika deer deep in the forests is outstanding.

This audio guide is made by National Taiwan Library. Docent: Chen Yu-Jung (陳毓容)