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本幅纸拖尾纸释文:
归去来兮辞。馀家贫。耕植不足以自给。幼稚盈室。缾无储粟。生生所资。未见其术。亲故多劝馀为长吏。脱然有怀。求之靡涂。会有四方之事。诸侯以惠爱为德。家叔以予贫苦。遂见用为小邑。予时风波未静。心惮远役。彭泽去家百里。公田之利。足以为酒。故便求之。及少日。眷然有归欤之情。何则。质性自然。非矫励所得。饥冻虽切。违已交病。常从人事。皆口腹自役。于是怅然。慷慨深愧平生之志。犹望一稔。当歛裳霄。逝寻程氏。妹丧于武昌。情在骏奔。自免去职。仲秋至冬。在官八十馀日。因事顺心。命篇曰归去来兮。乙巳岁十一月也。归去来兮。田园将芜胡不归。既自以心为形役。奚惆怅而独悲。悟已往之不谏。知来者之可追。实迷涂其未远。觉今是而昨非。舟遥遥以轻飏。风飘飘而吹衣。问征夫以前路。恨晨光之憙微。乃瞻衡宇。载欣载奔。僮仆欢迎。稚子候门。三径就荒。松菊犹存。携幼入室。有酒盈罇。引壶觞以自酌。眄庭柯以怡颜。倚南窓以寄傲。审容膝之易安。园日涉以成趣。门虽设而常关。策扶老以流憩。时矫首而遐观。云无心以出岫。鸟倦飞而知还。景翳翳以将入。抚孤松而盘桓。归去来兮。请息交以绝游。世与我而相遗。复驾言兮焉。求悦亲戚之情话。乐琴书以消忧。农人告馀以(仲点去)春将有事于西畴。或命巾车。或棹孤舟。既窈窕以寻壑。亦崎岖而经丘。木欣欣以向荣。泉涓涓而始流。善万物之得时。感吾生之行休已矣乎。寓形宇内复几时。曷不委心任去留。胡为皇皇欲何之。富贵非吾愿。帝乡不可期。怀良辰以孤往。或植杖而耘耔。登东皋以舒啸。临清流而赋诗。聊乘化以归尽。乐夫天命复奚疑。印记资料:
作者印记:东坡居士题跋资料:
题跋类别:题跋;作者: ;题跋位置:本幅;款识:无;;书体:行楷书;全文:苏文忠公书(金书)主题:
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收藏着录: 石渠宝笈初编(御书房),下册,页899-900 收藏着录: 故宫书画录(卷一),第一册,页47-48 参考书目: 1.王耀庭,〈宋苏轼书归去来辞〉,收入王耀庭编,《渊明逸致特展图录》(台北:国立故宫博物院,1988年初版),页112。2.张光宾,〈故宫博物院收藏法书与碑帖〉,《故宫季刊》,第九卷第三期(1975年春),页5-19。3.〈归去来辞〉,收入何传馨、陈阶晋、何炎泉编,《故宫法书新编(十) 宋 苏轼墨蹟(下)》(台北:国立故宫博物院,2011年九月初版一刷),页58-80。 内容简介(中文): 苏轼(西元1036─1101年),四川眉山人。字子瞻,自号东坡居士。官至端明殿大学士,卒諡文忠。苏轼博通经史,工诗词,善书画,其文学艺术成就亘古少有。与父洵、弟辙世称三苏,名列唐宋八大家,又与黄庭坚、米芾、蔡襄并称宋代四大书家。东坡书法兼得二王、颜真卿、李邕、杨凝式之长,其书风充分流露潇洒奔逸豪迈不羁的气概。此卷文字意态丰腴,结体稳密,纵笔重,横笔轻,撇戈笔划,左伸而右缩,为苏字特色,然章法整齐,笔力不足,疑为后世倣作。 内容简介(英文): Su Shih(style name Tzu-chan; sobriquet Tung-p'o chü-shih)was a native of Mei-shan, Szechwan. He was given the posthumous title Wen-chung. Su was distinguished for his erudition on the classics and history, and he excelled in poetry, prose, painting, and calligraphy. He reached a high level of achievement in art. Su Shih has been known along with Huang T'ing-chien(1045-1105), Mi Fu(1051-1107),and Ts'ai Hsiang(1012-1069)as the Four Calligraphic Masters of the Sung Dynasty.Su's calligraphy combined the styles of Wang His-chih(307-365)and Wang Hsien-chih(344-388),Yen Chen-ch'ing(709-785), Li Yung(678-747), and Yang Ning-shih(873-957)and is filled with an unrestrained energy. The characters on this scroll are full and their structure firm and compact. Heavy vertical strokes contrast light horizontal strokes, and the strokes which descend to the left extend while those to the right contract. This is Su's special calligraphic feature. The composition, however, is too neatly arranged and the brushwork lacks Su's force. Thus, it is suspected that this is a later copy.