书体:

行书

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:

閒居赋。傲坟素之长圃。步先哲之高衢。虽吾颜之云厚。犹内愧于宁蘧。有道吾不仕。无道吾不愚。何巧智之不足。而拙艰之有馀也。于是退而閒居。于洛之涘。身齐逸人。名缀下士。倍京泝伊。面郊后市。浮梁黝以径度。灵台杰其高峙。窥天文之秘奥。究人事之终始。其西则有元戎禁营。玄幙绿徽。溪子巨黍。异絭同机。礮石雷骇。激矢蝱飞。以先启行。曜我皇威。其东则明堂辟雍。清穆敞闲。环林萦暎。员海回渊。聿追孝以严父。宗文考以配天。祇圣敬以明顺。养更老以崇年。若乃背冬涉春。阴谢阳施。天子有事于柴燎。以郊祖而展义。张钧天之广乐。备千乘之万骑。服振振以齐玄。管啾啾而并吹。煌煌乎。隐隐乎。兹礼容之壮观。而王制之巨丽也。两学齐列。双宇如一。右延国冑。左纳良逸。祁祁生徒。济济儒术。或升之堂。或入之室。教无常师。道在则是。故髦士投绂。名王怀玺。训若风行。应如草靡。此里仁所以为美。孟母所以三徙也。爰定我居。筑室穿池。长杨暎沼。芳枳树篱。游鳞瀺灂。菡萏敷披。竹木蓊蔼。灵果参差。张公大谷之棃。梁侯鸟稗之杮。周文弱枝之枣。房陵朱仲之李。靡不毕植。三桃表樱胡之别。二奈曜丹白之色。石榴蒲桃之珍。磊落蔓衍乎其侧。梅李郁棣之属。繁荣藻丽之饰。华实照烂。言所不能极也。菜则葱韭蒜芋。青笋紫薑。菫荠甘旨。蓼荽芬芳。蘘荷依阴。时藿向阳。绿葵含露。白薤负霜。于是凛秋暑退。熙春寒往。微雨新晴。六合清朗。太夫人乃御板舆。升轻轩。远览王畿。近周家园。体以行和。药以劳宣。常膳载加。旧疴有痊。席长筵。列孙子。柳垂阴。车结轨。陆摘紫房。水挂赪鲤。或宴于林。或禊于汜。昆弟斑白。儿童稚齿。称万寿以献觞。咸一惧而一喜。寿觞举。慈颜和。浮杯乐饮。丝竹骈罗。顿足起舞。抗音高歌。人生安乐。孰知其他。退求己而自省。信用薄而才劣。奉周任之格言。敢陈力而就列。几陋身之不保。尚奚拟于明哲。仰众妙而绝思。终优游以养拙。子昂。

印记资料:

作者印记：赵子昂
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：古香书屋
收传印记：朝鲜人
收传印记：安岐之印
收传印记：仪周珍藏
收传印记：安氏仪周书画之章
收传印记：心赏
收传印记：安仪周家珍藏
收传印记：思原堂
收传印记：麓邨
收传印记：淞洲

题跋资料:

题跋类别：题跋；作者：曹溶拖尾倦圃老人曹溶；书体：行楷书；全文：赵文敏在元朝。甚被宠遇。游历中外。勤于职事。晏息水晶道（点去）宫之日较短。其书閒居赋。得无倦于仕进。寄莼鲈之思欤。用笔纯师李北海。而运以姿秀。不诡过江家法。定为晚年合作。倦圃老人曹溶。印记：曹溶之印、洁躬

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页912 收藏着录： 故宫书画录（卷一），第一册，页77 参考书目： 1.侯怡利，〈元赵孟頫书閒居赋〉，《故宫文物月刊》，第300期（2008年3月），页12-13。 内容简介（中文）： 赵孟頫（西元一二五四－一三二二年），吴兴人。字子昂，号松雪道人。宋亡，家居力学，侍御史程钜夫奉诏搜访遗逸，以孟頫入见。官至翰林学士承旨，封魏国公，谥文敏。孟頫诗文清远，有《松雪斋集》行世。宋朝末年，书学不振，孟頫提倡复古，影响当代甚钜。其书凡三变，初临思陵（宋高宗），中年学锺繇及羲献，晚乃学李北海。〈閒居赋〉乃其晚年之作，结体整饬，行间疏朗，深受李北海之影响。(20091015) 内容简介（中文）： 赵孟頫（西元一二五四－一三二二年），吴兴人。字子昂，号松雪道人。宋亡，家居力学，侍御史程钜夫奉诏搜访遗逸，以孟頫入见。官至翰林学士承旨，封魏国公，諡文敏。孟頫诗文清远，有松雪斋集行世。宋之末年，书学不振，孟頫提倡复古，影响当代甚钜。其书凡三变，初临思陵，中年学锺繇及羲献，晚乃学李北海。閒居赋乃其晚年之作，结体整饬，行间疏朗，为深受李北海影响之作品。 内容简介（英文）： Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsueh tao-jen) was a native of Wu-hsing, Chekiang. After the fall of the Sung dynasty, Chao lived at home and studied diligently. The Attendant Censor Ch'eng Chu-fu was commanded by the Yuan emperor to seek out the reclusive scholars from the former Sung, and he returned to the emperor with Chao Meng-fu. Chao then served as scholar in the Han-lin Academy. He was later enfeoffed as the Duke of Wei and was posthumously granted the title of Wen-min. Chao was a master of painting and calligraphy, and his poetry and prose were excellent. By the end of the Sung dynasty, there were few new calligraphic innovations. Chao advocated a return to antiquity and exerted profound influence on later generations. Chao's calligraphy underwent several changes. In his early years he imitated the style of Sung emperor Kao-tsung, during his middle period he studied the styles of Chung Yu, Wang Hsi-chih, and Wang hsien-chih, and in his late years he followed the style of Li Pei-hai. This fu poem is a work of Chao's late years. The structure of the characters are orderly, and the space between lines appears very open, demonstrating the deep influence of Li Pei-hai. 内容简介（英文）： Zhao Mengfu (native of Wu; sobriquet Songxue daoren) was related to the Song imperial clan but accepted service under the Mongol Yuan dynasty. He was a Hanlin Academician, enfeoffed as Duke of Wei, and posthumously titled Wenmin. His writing was pure and lofty, as seen in his Collection of the Songxue Studio. In the late Song, the study of calligraphy declined, so Zhao advocated a return to antiquity, thus influencing his generation. His calligraphy went through 3 stages: first copying the style of the Song emperor Gaozong, then in middle years studying Zhong You and the Two Wangs, and then later the style of Li Beihai (Yong). In this later work, the characters are neat and tidy, the line spacing clear and even, revealing the influence of Li Yong.(20091015)