书体:

行书

色彩:

装裱形式:

册(蝴蝶装‧方幅式)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

所示要土母。今得一小笼子。封全谘送。不知可用否。是新安垂夬门所出者。复未知何所用。望批示。春冬衣历头。贤郎未检到。其宅地基。尹家者。根本未分明。难商量耳。见别访寻稳便者。若有成见宅子又如何。细希示及（押字）。谘。孙号西行少车。今有旧车。如到彼不用。可货却也。（幅左下角有畏字题记。）

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
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：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：天籁阁
收传印记：桃花源里人家（半印）
收传印记：子京父印（半印）
收传印记：项元汴印（重二）
收传印记：墨林祕玩（重一。其一半印）
收传印记：项墨林父秘笈之印（重二。其一半印）
收传印记：从吾所好（重一）
收传印记：神游心赏（重一。其一半印）
收传印记：若水轩（半印）
收传印记：墨林子（半印）
收传印记：墨林山人
收传印记：子京（半印）
收传印记：退密
收传印记：项子京家珍藏
收传印记：虚朗斋
收传印记：净因菴
收传印记：项叔子
收传印记：子京所藏
收传印记：项氏子京（半印）
收传印记：隐居放言（半印）
收传印记：墨林砚癖（半印）
收传印记：隐居放言（半印）
收传印记：陈定印
收传印记：陈氏家藏
收传印记：陈氏世宝
收传印记：仪周鑑赏（重一）
收传印记：翰墨林鉴定章（重一）
收传印记：恙（重四）
收传印记：翰墨林（重二）
收传印记：安氏仪周书画之章
收传印记：师尹父（半印）
收传印记：任心所藏
收传印记：（三半印不辨）

题跋资料:

题跋类别：题跋；作者：姜尸 金华姜尸；书体：楷书；全文：古人书法。魏有锺元常。晋有王逸少。唐则欧虞颜柳。前后相望。今观诸家之书。皆潇洒出尘。应规入矩。中间柳氏颜氏。虽有肥浊瘦硬不同。然皆各得字之精妙。有未易以声音笑貌及之也。下此则宋西台李建中。其书法尽得古人之妙。故能风轨魏晋。扫湔尘俗。得其一点一画者。皆可宝玩。而况全简累字如此。君子能珍藏之。庶李氏之书不朽矣。金华姜尸。印记：玉门居士、岁寒松柏、师善斋、姜氏、显忠图书

题跋类别：题跋；作者：萧引高 文江萧引高；书体：行书；全文：自忆西台笔法精。良宵长使梦魂惊。讌酣展卷晴窗下。秋露春云酒欲醒。文江萧引高。印记：玉壶秋露

题跋类别：题跋；作者：王尹实 制河王尹实跋；书体：行书；全文：太古先生。与予俱客江宁。虽居相密迩。而足迹颇疎为恨耳。祕阁晚出。几格间见西台李公墨蹟。乃云千里之地。不能交一谈而开胸臆。思觌之深也如此。今昔不同。交谊何异。其书法则与岳麓寺相似。间有一二行草。可谓绝今超古者也。宜宝之。制河王尹实跋。印记：笑我年六十馀、尹实、珊瑚玉树、凤凰池上客

题跋类别：题跋；作者：王偁 独山王偁书；全文：；书体：行书；全文：唐人书法。自徐浩来。已骎骎入于宋矣。至苏黄始一大变。而无复唐意。今观李西台书。虽在宋人。当去唐为不远。前论谓其有李北海之风。是为知言矣。金华高士陈君大有。得宝此帖。间出相示。观毕谨识。时戊子岁五月一日也。独山王偁书。印记：默而成之题籤   ；书体：楷书；全文：宋李西台建中书。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页473-477 收藏着录： 故宫书画录（卷三），第一册，页154-159 收藏着录： 故宫历代法书全集，第十一册，页90-93、198-202 参考书目： 1.何传馨，〈李建中谘〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页233-234。2.何炎泉，〈李建中书谘（土母帖）〉，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463- 467。3.何传馨，〈「七十件书画册页名品特展」精选(三) — 李建中谘册〉，《故宫文物月刊》，第148期（1995年7月），页46-48。 内容简介（中文）： 李建中（西元945－1013年），字得中，蜀人，宋太祖干德三年〈965〉蜀平，迁居洛阳。太平兴国八年〈983〉中进士，历官着作郎、殿中丞及通判、知州，景德〈1004-1007〉中，进金部员外郎，晚年居洛阳，掌西京留司御史台，人称「李西台」。此帖又称「土母帖」。受信人不详，信中提到「新安垂夬门」〈河南新安县阙门山〉，推测是晚年在西京时所书。用笔方中带圆，结体丰腴淳厚，整体结严谨，笔画遒媚，存风骨于肥厚之内，犹有唐代颜真卿、徐浩之风。可知赵孟頫所谓「西台书去唐未远，犹有唐人馀风」之言不虚。本幅选自「宋十二名家法书」册第一幅。 内容简介（中文）： 李建中（945-1013），字得中，北宋蜀（今四川）人。太平兴国八年（983）进士，历太常博士、直集贤院、工部郎中。晚年居住西京（今河南洛阳）时，深为当地风土民情所吸引，三次请求留作西京留守御史台的职事，人称「李西台」。此帖受信人不详，从内容推测应为晚年所书。整体结构严谨，用笔方中带圆，线条丰腴而淳厚，虽多显颜真卿、杨凝式之影响，然亦有二王遗绪，显露五代宋初的书法风尚。(20061206) 内容简介（英文）： Li Chien-chung, style name Teh-chung, was a native of Shu (modern Szechwan). In 983, during the early Northern Sung, he became a Presented Scholar and served in such government positions as Erudite of the Chamberlain of Ceremonials, Auxiliary in the Academy of Scholarly Worthies, and Director of the Ministry of Works. In later years, he lived in the Western Capital (Hsi-ching; modern Loyang, Honan) and was quite attracted to the local customs of the people there. Three times he requested to remain as the Regent Censor of the Western Capital, which is why he was known as “Western Censor Li”. Although the recipient is unknown, this letter would appear from the contents to have been done in Li's later years. The overall composition of the characters is precise and the brushwork angular but with a touch of roundness. The lines are also full and straightforward. Although showing much influence of Yen Chen-ch’ing and Yang Ning-shih, there is also evidence of the style of the Two Wangs, revealing the trend of calligraphy during the Five Dynasties and early Sung period.(20061206) 内容简介（英文）： Li Chien-chung (style name Te-chung) was a native of Szechuan who, with the pacification of that area in 965, moved to Loyang. In 983, he received his chin-shih civil service degree and served in a variety of government positions, such as Editiorial Director, Palace Administrator, and Controller-general. During the Ching-te era(1004-1007), he became Outer Gentleman of the Treasury Bureau, living his later years in Loyang while holding the title Auxiliary Censorate of the Western Capital (earning the nickname "Li, the Western Censorate"). The work is also known as the "T'u-mu t'ieh." Although the recipient is unknown, the letter mentions the site "Ch'üeh-men, Hsin-an" (modern Mt. Ch'ueh-men, Hsin-an County, Honan Province), which may indicate it was written by Li when he was in the Western Capital. The use of the brush is centered and rounded, and the composition of each character is thick and dense. The overall structure is still solemn, but the brushstrokes have a certain beauty, giving the characters both solidity and attractiveness. It is as if Li has combined the style of the T'ang calligraphers Yen Chen-ch'ing(709-785) and Hsü Hao (703-782). Chao Meng-fu(1254-1322) was not exaggerating when he wrote, "The calligraphy of Hai-t'ai 【Li Chien-chung】is removed from the T'ang【in time】, but is still derived from it. This is the first leaf in the album Sung shih-erh ming-chia fa-shu.