书体:
行楷书色彩:
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册(蝴蝶装),册(折装)创作时间:
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汉文质地:
本幅纸释文:
昌州使君景道。宗秀也。往馀与公寿景珍游。时景道方为儿童嬉戏。今颀然在朝班。思公寿景珍不得见。每见景道。尚有典刑。宣州院诸公多学馀道(点去)书。景道尤喜馀笔墨。故书此三幅遗之。翰林苏子瞻。书法娟秀。虽用墨太丰。而韵有馀。于今为天下第一。馀书不足学。学者辄笔愞无劲气。今乃舍子瞻而学馀。未为能择术也。适在慧林。为人书一文字。试笔墨。故遣此不别作记。庭坚顿首。景道十七使君。五月七日。九陌黄尘乌帽底。五湖春水白鸥前。扁舟不为鲈鱼去。收取声名四十年。甓社湖中有明月。淮南草木借光辉。故应剖蚌登王室。不若行沙弄夕霏。右奉呈外舅孙莘老。小黠大癡螳捕蝉。有馀不足夔怜蚿(讳笔,缺末点)。退食归来北窗梦。一江春月趁鱼舷(讳笔,缺末点)。桃李无言一弄风。黄丽唯见绿怱怱。人言九事八为律。傥有江船吾欲东。右归自门下后省卧酺池寺书堂。映日低风整复斜。绿玉眉心黄袖遮。大梁城里虽罕见。心知不是牛家花。九疑山中萼绿华。黄云承韈到羊家。真筌虫蚀诗句断。犹讬馀情开此花。仙衣辟积驾黄鹄。草木无光一笑开。人间风日不可耐。故待成阴叶下来。汤沐冰肌照春色。海牛押帘风不开。直言红尘无路入。犹傍蜂须蝶翅来。右和王仲至少监咏姚花四首用其韵。印记资料:
作者印记:山谷道人题跋资料:
题跋类别:题跋;作者:温革本件第四幅温革叔皮父。;书体:行楷书;全文:革顷与德麟游。颇闻元祐诸公言行之绪馀。及兹朅来临漳。路钤赵昌叔。相与款厚。因出示山谷道人。与其先府丹阳君。往来书帖及诗词。想见前脩风流馀韵。而贵公子乐善喜文之高致也。丹阳君。德麟之兄。而昌叔。德麟犹子也。然则好事喜宾客。盖有家范云。温革叔皮父。主题:
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收藏着录: 石渠宝笈续编(重华宫),第三册,页1672-1676 收藏着录: 故宫书画录(卷三),第一册,页146-151 收藏着录: 故宫历代法书全集,第十一册,页40-63、193-195 参考书目: 1.何传馨,〈黄庭坚致景道十七使君尺牍〉,收入林柏亭主编,《大观- 北宋书画特展》(台北:国立故宫博物院,2006年初版一刷),页373- 376。2.何传馨,〈宋黄庭坚书诗〉,收入何传馨编,《书法之美特展图录》(台北:国立故宫博物院,1992年五月初版一刷),页73-74。3.王竞雄,〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(五) — 书法、图书文献〉,《故宫文物月刊》,第248期(2003年11月),页9。4.何传馨,〈黄庭坚小楷气象〈致景道十七使君尺牍并诗〉解读〉,《故宫文物月刊》,第269期(2005年8月),页16-29。 内容简介(中文): 黄庭坚,字鲁直,号山谷道人,洪州分宁(今江西省修水)人,和苏轼、米芾、蔡襄同为北宋四大书家之一。 黄庭坚早年学周越但俗气不脱,而后取法张旭、怀素、颜鲁公、杨凝式,尤其得力于<瘗鹤铭>的神韵。此幅为小字,因此不见他行书中最著名攲侧的结构、圆劲的笔势和缓缓涩进的顿挫,不过,刻意拉长的横划和化线为点还是充满黄氏个人的风格。本幅为「宋四家真蹟」册之三。 内容简介(中文): 此作包含黄庭坚小楷书信一则,与七言绝句诗八首,根据内容可推定为约四十五岁(1089)时,赠送给宗室赵令率(生卒年不详)的书迹。当时正是黄庭坚仕途生涯最为风光的时期,由于致赠的对象是皇亲贵戚,述说的是在京城赏花吟月的惬意生活,因此在书法风格也展现出平和优雅的情态。 黄庭坚(1045-1105)字鲁直,号涪翁、山谷道人,江西分宁人。他擅长于诗文、书法,和苏轼、米芾、蔡襄并列为北宋四大书家。(20061206) 内容简介(英文): Huang T'ing-chien, style name Lu-chih and sobriquets Fu-weng and Shan-ku tao-jen, was a native of Fen-ning, Kiangsi. He specialized in poetry and prose as well as calligraphy, being known in the latter along with Su Shih, Mi Fu, and Ts’ai Hsiang as one of the Four Masters of the Northern Sung. This work includes a letter written by Huang T'ing-chien in standard script as well as eight seven-character truncated verses. Judging from the contents, this was written around the age of 44 (1089) as a piece of calligraphy presented to Chao Ling-shuai (dates unknown), a member of the imperial clan. This period was when Huang T'ing-chien was at the prime of his career as an official. Since the recipient's status as a relative of the imperial family, and the contents narrating the pleasantries of life in appreciation of the moon and blossoms in the capital, the style of Huang T'ing-chien's calligraphy also reveals a joyful and upbeat mood.(20061206) 内容简介(英文): Huang T'ing-chien was a native of Kiangsi who, with Su Shih, Mi Fu, and Ts'ai Hsiang, was one of the Four Great Northern Sung Masters of calligraphy. In his early years, Huang studied the style of Chou Yueh (fl. ca. 1023-1048), but sought more ancient styles, later studying those of Chang Hsu, Huai-su, Yen Chen-ch'ing, and Yang Ning-shih. He was especially attracted to the archaic spirit of the Burying the Crane engraving. The characters here are small, so his famous slanted characters, rounded brushwork, and wavering manner of his running script is not apparent. theless, the intentional lengthening of horizontal strokes and line-like dots still suggest his unique style. This is leaf 3 from Album of Authentic Works by the Four Sung Masters.