书体:

楷书

色彩:

装裱形式:

册(蝴蝶装)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

脩启。脩以衰病馀生。蒙上恩宽假。哀其恳至。俾遂归老。自杜门里巷。与世日踈。惟窃自念。幸得早从当世贤者之游。其于钦向德义。未始少忘于心耳。近张寺丞自洛来。出所惠书。其为感慰。何可胜言。因得仰诇起居。喜承宴处优闲。履况清福。春候暄和。更冀为时爱重。以副搢绅所以有望者。非独田亩垂尽之人区区也。不宣。脩再拜。端明侍读留台执事。三月初二日。

印记资料:

作者印记：六一居士

题跋资料:

题跋类别：题签；    欧阳文忠公脩书

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445 收藏着录： 故宫书画录（卷三），第一册，页178-180 参考书目： 1.郑瑶赐，〈欧阳脩致端明侍读留台执事尺牍〉，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234-236。2.郑瑶赐，〈「七十件书画册页名品特展」精选(四) — 欧阳修致端明侍读留台执事尺牍〉，《故宫文物月刊》，第149期（1995年8月），页90-93。 内容简介（中文）： 欧阳脩(西元1007-1072年)，卢陵(今江西吉安)人。自永叔，字号醉翁，晚号六一居士，卒諡文忠。他学识渊博，敏悟过人，读书过目成诵，其书法独具风格，惟为博学所掩，世人罕知其亦书。 欧阳脩曾谓：「书之废莫废于今，书之盛莫盛于唐。」他是传统书家，深受颜真卿与李邕影响，一向善写楷书，早期与晚期变化不大。行草书流传甚少，至于其书法特色，大弟子苏轼评述最为中肯：「欧阳文忠公，用尖笔，干墨，写方阔字。」本幅选自「宋人法书册一」第七幅。 内容简介（中文）： 欧阳修是北宋中期重要的文学家与史学家，他从二十四岁中进士，到六十五岁退休，四十馀年间，在中央担任谏官与翰林学士等职，也曾外放到安徽任知州，最后官至枢密副使、参知政事，在北宋政治改革中曾经扮演重要角色，不过为后人所推崇的，是他学识广博，在史学、文学与金石学方面都有卓越贡献与深远的影响。神宗熙宁四年（1071）年六月，欧阳修辞官退休，择居颖州（安徽阜阳），第二年接到当时以端明殿侍读学士权判西京留台的好友司马光（1019--1086）的来信，得知近况「宴处优闲，履况清福」，三月二日作此信答之，一方面谈到退休以后与世事疏远，一方面表示慰问与关怀。写此信四个月后，欧阳修便去世了，所以很可能是最晚的手蹟。从一些颤抖不稳定的笔触，可以看出他的身体状况不佳，但是仍然用规矩的楷书，一笔一笔认真的书写。当时人记载他作字，无论起草或写诗稿，都用工整的楷书，丝毫不茍且，见其字，如见其人，令人感受到端庄正直，又从容有自信的学者气度。（何传馨） 内容简介（英文）： Ou-yang Hsiu was a native of Lu-ling (modern Chi-an , Kiangsi). His style name was Yung-shu, sobriquets were Tsui-weng and Liu-I chu-shih, and posthumous title was Wen-chung. His learning was vast and his intelligence unsurpassed, being able to retain everything he studied. The style of his calligraphy was also unique. However, due to his vast learning, few people have paid much attention to his achievements in calligraphy. Ou-yang Hsiu once wrote, "The decline of calligraphy has occurred in modern times, and the peak took place in the T'ang dynasty [618-907]. " Ou-yang was a very traditional calligrapher, being deeply influenced by the styles of Yen Chen-ch'ing (709-785) and Li Yung (678-747). He excelled at regular script throughout his career, and the differences between his early and late styles were not very great. Examples of his running grass script which survive today are scarce. In terms of the uniqueness of his calligraphy , his great disciple Su Tung-p'o (1036-1101) summed it up just right by saying, "[Ou-yang Hsiu] used a pointed brush with dry ink to write expansive character." This is the seventh leaf from the album Sung-jen fa-shu I.