书体:

行书

色彩:

装裱形式:

卷

创作时间:

宋哲宗元祐二年（1087）

文字类型:

汉文

质地:

本幅纸

释文:

次韵三舍人省上一首。轼。纷纷荣瘁何能久。云雨从来翻复手。慌如一梦堕枕中。却见三贤起江右。（刘贡父。曾子开。孔经父。皆江西人也。）嗟君妙质皆瑚琏。顾我虚名但箕斗。明朝冠盖蔚相望。共扈翠辇朝宣光。武皇已老白云乡。正与羣帝骖龙翔。独留杞梓扶明堂。（明日扈从谒景灵。故有此句）。元祐二年（西元一０八七年）三月晦日。

印记资料:

鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：隆裕皇太后御览之宝
收传印记：南昌袁氏家藏珍玩子孙永保
收传印记：袁忠彻印
收传印记：□衮堂（白文。半印。）
收传印记：□□堂（朱文。半印。）
收传印记：尚宝少卿袁氏忠彻印
收传印记：静思斋印（半印）
收传印记：项元汴印
收传印记：神（重一）
收传印记：品（重一）
收传印记：项元汴印
收传印记：平生真赏
收传印记：项墨林父秘笈之印
收传印记：子孙世昌（重一。半印一。）
收传印记：西畴耕耦（重一。半印一。）
收传印记：神游心赏
收传印记：檇李
收传印记：项子京家珍藏
收传印记：项墨林鉴赏章
收传印记：墨林项季子章
收传印记：子京珍祕
收传印记：墨林嬾叟
收传印记：博雅堂□□□（半印）
收传印记：□□之圃（半印）
收传印记：张孝思赏鉴印
收传印记：张孝思
收传印记：张则之
收传印记：商丘宋荦审定真迹
收传印记：李宗孔
收传印记：笪重光
收传印记：笪在辛
收传印记：江上笪氏图书印
收传印记：江上（半印）
收传印记：直指绣衣御史章
收传印记：袁说友印
收传印记：袁同印章

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页1102-1103 收藏着录： 故宫书画录（卷一），第一册，页141-144 收藏着录： 故宫历代法书全集，第三册，页34-45、178-182 参考书目： 1.〈次韵三舍人省上诗〉，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38-41。 内容简介（中文）： 苏轼（西元一0三六－一一0一年），字子瞻，号东坡。博通经史，诗文造诣高超，是北宋文学史上的大家。书法主张「我书意造本无法，点画信手烦推求」，有法而不泥于法，是典型的宋人尚意书风代表。此幅书于五十二岁，运笔沉着稳健，字形虽不俊美，却有丰富的意韵。本幅为「宋四家法书」卷之二，幅右下有项元汴千字文第七九七「属」字编号，并钤有「子孙世昌」等多方鑑藏章。 内容简介（中文）： 苏轼（西元一0三六－一一0一年），四川眉山人。字子瞻，号东坡。嘉祐二年（一0五七）二十二岁进士，宦迹遍及杭州、黄州、扬州、及琼州等地。 他博通经史，诗文造诣很高，是文学史上的大家。书法师王羲之、颜真卿、李邕、杨凝式、李建中等，不过他主张「我书意造本无法，点画信手烦推求」，有法而不泥于法，是典型的宋人尚意书风代表。此幅书于五十二岁，运笔沉着稳健，字形虽不俊美，却有丰富的意韵。本幅为「宋四家法书」卷之二。 内容简介（英文）： Su Shih (style name Tzu-ch'an; sobriquet Tung-p'o) was a native of Mei-shan, Szechuan. He received his chin-shih civil service degree in 1057 at the age of 21 and served as an official in such places as Hangchow, Huang-chou, Yangchow, and Ch'iung-chou. Su Shih was distinguished for his erudition on the Classics and history, and also reached a high level of achievement in poetry and belles-lettres. He is a great author in the history of Chinese literature. He took the styles of such calligraphers as Wang Hsi-chih (303?-361?), Yen Chen-ch'ing (709-785), Li Yung (678-747), Yang Ning-shih (873-957), and Li Chien-chung as his teachers. However, he also emphasized that "the style of my calligraphy by natutre has no method, so the dots and strokes that I dash off are guided by my hand without attempting to be meticulously correct." This attitude of Su Tung-p'o's represents the prevalent view among Sung dynasty calligraphers that one must have calligraphic methods without becoming stuck in them. This piece of calligraphy was done at the age of 51, when su Shih's brushwork was firm and steady. Although the forms of the characters are not handsome, they possess an abundant spirit and tone. 内容简介（英文）： Su Shi was learned in the classics and histories, attaining great heights in literature and becoming a master. He once said, “My calligraphy has no method; dots and strokes trust my hand without always being correct.” Thus, he had method but was not confined to it, reflecting the classic Song spirit of personal expression. In this work from the Chinese age of 52, Su’s brush movement is firm and steady. Though the characters may not be handsome, they appear rich. This is the second work in the scroll “Calligraphy of the Four Song Masters.” In the lower right is the 797th character from the “Thousand Character Classic” (shu 属) and Xiang Yuanbian’s accession number, along with such seals as “May Descendants Prosper for Generations.”