书体:

草书

色彩:

装裱形式:

卷

创作时间:

文字类型:

汉文

质地:

本幅纸拖尾纸

释文:

每念长风。不可居忍。昨得其书。既毁顿。又复壮温。深可忧。知贤室委顿。何以使尔。甚助耿耿。念劳心。知得廿四问。亦得虎廿二日书。云。新年乃得发。安石昨必欲克。潘家欲克廿五日也。足下比语张令未。前所经由。足下近如似欲见。今送。致此四纸飞白。以为何似。能学不。

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：睿思东阁
收传印记：秘园
收传印记：孔
收传印记：广陵李书楼珍赏图书
收传印记：瑁湖珍祕
收传印记：王氏珍藏书画之印
收传印记：润州笪重光鉴定印

题跋资料:

题跋类别：题跋；作者：曾棨拖尾时宣德元年夏四月十七日。新雨初霁。绿阴满庭。庐陵后学曾棨。书于北京之西野草堂。；书体：行书；全文：书唐褚河南临晋王右军帖后。唐太宗得兰亭真蹟。以命褚遂良。冯承素。韩道政。赵模。诸葛贞之流临橅。以赐王公贵人。然独褚河南率意落笔。而清润遒劲。能得其真。此盖唐人所临右军法帖。凡数段。不出于一简。而笔意沉着。精妙绝伦。信非河南不能到也。后有睿思东阁图书。盖宋徽庙所用意。 必有宋元以来名贤跋语。然脱落不可复见矣。惜哉。今大理卿金坛虞公出以示予。诚若殷彝周鼎天球赤刀复见于世。岂非所谓重宝也欤。摩挲累日。不忍释手。惟公以清才硕望（旁改书学字）蔚然为一时之望。而尤工于书。其宝而藏之宜矣。展翫之馀。遂书此以归之。时宣德元年夏四月十七日。新雨初霁。绿阴满庭。庐陵后学曾棨。书于北京之西野草堂。印记：曾子启印、玉□双清、西野草堂、卷雨轩

题跋类别：题跋；作者：董其昌拖尾董其昌题。庚午六月。；书体：行书；全文：昔在史馆同年王检讨尝携此卷视予。解状谓二字曰壮温。检讨深于医理。其语当不谬。后有睿思东阁小玺。盖宋时大内宝藏。虞氏天球也。来初学宪重还旧观。今日于名园展玩永日。大可消暑。当辟麈犀。诚为厚幸。董其昌题。庚午六月。印记：宗伯学士、董玄宰

题跋类别：题跋；作者：王廷相拖尾嘉靖十二年仲夏四日仪封王廷相观之再拜书；全文：；书体：行书；全文：尝读褚河南传云。太宗以虞世南死。无与论书者。魏征白。见遂良。帝令侍书。时方博购羲之故帖。天下争献。然莫能知真伪。遂良独论所出。无舛冒者。由是观之。河南公之书真重于唐。无疑矣。此帖笔意洒脱。无后人点画。有晋人遒润之风。宜大理公之重之也。龙湖先生宝而藏之。孝矣哉。嘉靖十二年仲夏四日仪封王廷相观之再拜书。印记：子衡、河濒丈人

题跋类别：题跋；作者：汪道会拖尾后学汪道会书；全文：；书体：行书；全文：古人临书。不在拘拘形似间。譬如双鹄摩天。浩荡万里。各随所至而息。乃其所以为佳。观褚河南所临右军诸帖。结撰翩翩。姿态横出。何尝一笔废法。又何尝一笔为法所缚。真翰苑射雕手也。偶从王太史损菴公处见之。终日不忍去手。太史公笔墨妙天下。谓非有得于此中三昧耶。敬识数语于后。以备商略。太史公其幸有以教之。后学汪道会书。印记：汪道会印、汪中嘉氏

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页932 收藏着录： 故宫书画录（卷一），第一册，页8 参考书目： 1.侯怡利，〈唐褚遂良摹王羲之长风帖〉，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83-86。2.王崇齐，〈褚遂良摹王羲之《长风帖》墨迹流传小考〉，《故宫文物月刊》，第285期（2006年12月），页48-56。3.〈摹王羲之长风帖〉，收入何传馨、陈阶晋、侯怡利编，《故宫法书新编（三）唐 褚遂良墨蹟》（台北：国立故宫博物院，2010年十二月初版一刷），页32-47。 内容简介（中文）： 此帖为双钩廓填王羲之草书〈长风〉、〈贤室〉、〈四纸飞白〉三帖，见于〈淳化阁帖〉，此帖缺漏一「叔」字，用笔风格与阁帖明显不同，显然非钩摹自阁帖所收。虽题为褚遂良摹本，但通篇与米芾书法的结字姿态、用笔习惯与线条笔画极为相似。上有宋高宗「睿思东阁」印，故应是宋人钩摹米芾自出己意的临仿本。通篇墨彩醇厚丰润，笔画的提按转折牵丝映带清晰可见，足见钩摹之精妙。 (20081012) 内容简介（中文）： 褚遂良（西元五九六－六五九年），浙江钱塘人。字登善。博学文史，工楷隶。虞世南死后，太宗尝歎无人可与论书者，魏征遂荐遂良，官至尚书右仆射。其书法由虞世南入手，上溯王羲之，功力精深，特以行书为胜。唐张怀瓘〈书断〉评褚遂良之书如美女婵娟，不胜罗绮。乃讚其书体态美丽温雅，至若用笔则疏瘦劲鍊。 内容简介（英文）： Ch'u Sui-liang was a native of Ch'ien-t'ang in Chekiang. His style name was Teng-shan. Widely read in literature and history, he was a good calligrapher of the standard and clerical scripts. After the death of Yü Shih-nan (558-638), the Emperor T'ai-tsung complained that he had no one to discuss calligraphy with. Wei Cheng, therefore, recommended Ch'u Sui-liang, who was appointed to a post in the imperial secretariat. His calligraphy was modelled on that of Yü Shih-nan and traced back to that of Wang Hsi-chih (307-365). He was gifted with a precise, well organized technique which can be best seen in his semi-cursive scripts. The T'ang critic Chang Huai-kuan wrote of his work, it has the grace and delicacy of a beautiful woman. He also praised his attractive and elegant style in which the brushstrokes were slender and distinct with an expression of well practiced vigour. 内容简介（英文）： his work is a copy of Wang Hsi-chih’s (303-361) “Ch’ang-feng,” “Hsien-shih,” and “Ssu-chih fei-pai” in cursive script using the method of “double outlines filled with ink.” Also found in the early Northern Sung court compilation known as “Modelbooks of the Ch’un-hua Pavilion,” this work is missing the character “shu 叔,” and the style of brushwork differs from the Ch’un-hua modelbooks. This work was therefore not copied from that compilation. Though attributed as a copy by Ch’u Sui-liang, the work throughout bears the structure and manner in Mi Fu’s (1052-1107) calligraphy, the brush habits and lines being quite similar. The work bears the seal impression “Jui-ssu tung-ko” of the Southern Sung emperor Kao-tsung (r. 1127-1162), suggesting it is probably a Sung outline copy of Mi Fu’s freehand interpretation of Wang Hsi-chih’s calligraphy. The ink tones throughout are mellow and rich, the stops and starts of the strokes along with the turning points clearly revealing traces of the brush, indicating the precision of this tracing copy. (20081012) 网页展示说明 此卷为双钩廓填王羲之草书〈长风〉、〈贤室〉、〈四纸飞白〉三帖，见于〈淳化阁帖〉，然用笔风格与阁帖明显不同，显然非钩摹自阁帖所收。虽题为唐褚遂良（五九六－六五九）摹本，但通篇与宋代米芾（一〇五二－一一〇八）的结字姿态与用笔习性，颇为近似，应是宋人钩摹米芾自出己意的临仿本。通篇墨彩醇厚丰润，笔画的提按转折牵丝映带清晰可见，足见钩摹之精妙。 释文： 每念长风。不可居忍。昨得其书。既毁顿。又复壮温。深可忧。知贤室委顿。何以使尔。甚助耿耿。念劳心。知得廿四问。亦得虎廿二日书。云。新年乃得发。安石昨必欲克。潘家欲克廿五日也。足下比语张令未。前所经由。足下近如似欲见。今送。致此四纸飞白。以为何似。能学不。(20120713) 网页展示说明 This work is a tracing copy of Wang Xizhi's "Changfeng," "Xianshi," and "Sizhi feibai" calligraphy in cursive script using the method of "double outlines filled with ink." Also found in "Modelbooks of the Chunhua Pavilion," this work is notably different in terms of style, so it was probably not copied from that source. Though attributed as a copy by Chu Suiliang, throughout it bears the structure and manner of Mi Fu's calligraphy. The brush habits and lines being quite similar, it suggests this is probably a Song dynasty outline copy of Mi Fu's freehand interpretation. The ink tones throughout are mellow and rich, the stops and starts of the strokes along with the turning points clearly revealing traces of the brush, demonstrating the precision of this tracing copy. (20120713) 网页展示说明 双钩廓填（模写の方法の一つ）による王羲之の草书「长风」、「贤室」、「四纸飞白」三作。いずれも「淳化阁帖」収录作品だが、「淳化阁帖」の用笔とは大きく异なっており、「淳化阁帖」から写したものではないことがわかる。题には唐代の褚遂良（596-659）の模本とあるが、结字や用笔のくせなどが宋代の米芾（1052-1108）によく似ており、宋人が钩摹したのは、米芾の个性が强く表れた、米芾の手による临模本の一つだと思われる。全体を见ると、重厚さの漂う豊润な墨色、笔画の提按や転折、笔を引いた际に细く残る线などもはっきりと见て取れ、钩摹の精妙さがよくわかる。釈文：每念长风。不可居忍。昨得其书。既毁顿。又复壮温。深可忧。知贤室委顿。何以使尔。甚助耿耿。念労心。知得廿四问。亦得虎廿二日书。云。新年乃得発。安石昨必欲克。潘家欲克廿五日也。足下比语张令未。前所経由。足下近如似欲见。今送。致此四纸飞白。以为何似。能学不。 (20120713)