书体:

楷书

色彩:

装裱形式:

册(蝴蝶装)

创作时间:

元顺帝至正二十六年（1366）

文字类型:

汉文

质地:

本幅纸

释文:

馀姊丈姚君元泽。裒古泉。装缥帙。以品列之。亦好古博雅之一事也。作者咸点去歌咏之。复俾馀赋。馀惟士之好尚不同。裒古钱非好货也。尚古也。庸敢设为问答。以为之赋。庶玩者知其志之有在云。其辞曰。既客有孔方子。冠员冠。衣青衣。挟铜山之宠势。夸金埒之富资。揖于古泉先生而晋曰。家世周官。职专货利。操轻重敛散之权。规大小方员之体。智足以通神。力足以使鬼。声名流布于寰区。气燄熏灼乎闾里。赏盈措大之屋。利尽弘羊之市。守惟借乎悭贪。主弗尚夫仁义。西京朽贯。因之而得名。东都卖爵。由玆而取贵。故世之人莫不乐吾之留。觊我之至。先生模彷旧谱。网罗古制。极旁搜而远讨。得千百之一二。缥帙锦囊。恩礼优异。独吾侪之见摈。岂甘心于贫匮。今将登子之门。以听子之进止。何如先生冁然而笑。曰。物有美恶。士有廉污。吾裒古泉匪利是趋。盖将资见闻于古昔。稽制作于典谟。爰自圣人创物。凝神运图。肇造货泉。以通有无。维庄历之迭铸。实币金之权舆。繄苍姬之龙兴。载非熊于后车。立九府之圜法。曰轻重焉以铢想。夫阴阳为炭。天地为炉。紫燄惨澹。红光卷舒。腾贯日之白虹。散流屋之金乌。范形赋质。变化斯须。外员像夫天体。内方法乎地隅。譬原泉之不息。妙流行于八区。逮秦汉而隋唐。嗟世变而制殊。耒子鹅眼。荇带青趺。或背面兮肉好。或子母兮血涂。或百当而千直。或风飘而水浮。积如叠叶之荷。纷如落荚之榆。奇品刀布。诡状异模。或圆而龙。或椭而驹。或兆玄武。或泳双鱼。或鸾凤之交翥。或干楯之争驱。或八卦兮列象。或七星兮联珠。或轮郭之分明。或字文之模糊。或苔駮兮殷若。或玉润兮温如。埋千年尘土之下。历万变劫灰之馀。幸遭逢于知己。曾价重于璠璵。视寻常之恶钱。犹美玉与王武玦。信传世之遗器。羗流芳于史书。得之者珍藏而什袭。览之者睥睨而趑趄。恍神犀照海。烛怪物于水底。如宝剑出匣。射龙光于斗枢。是宜装诸简册。与图书而并列。陈之坐几。与彝鼎而为徒。于以辨国统之正闰。于以别制度之精牛角。于以考泉流之通塞。于以验民生之安虞。谐古人之博识。笑守虏之多愚。锡古泉之嘉名。保厥美而弗渝。方将选上清之童子。斥铜臭之鄙夫。屏奸伪之偷薄。还古拙于太初。追青钱学士之号。应白水真人之符。折中开元。献于帝都。彼有昵近赃污。窃附权势。坏人心术见利忘义。王衍之所不谭。鲁褒之所深议者。馀又何取乎。客迺墨不言。惵然下意。逡巡辟席。谢罪而退。时至正丙午（西元一三六六年）五月上澣华亭金声书于白沙宋氏书馆。

印记资料:

作者印记：金
作者印记：金声
作者印记：金声彦振

题跋资料:

题跋类别：题签；   ；书体：楷书；全文：金声字彦振。松江华亭人。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页467 收藏着录： 故宫书画录（卷三），第一册，页269 参考书目： 1.朱惠良，〈元金声书钱谱赋〉，收入《云间书派特展图录》（台北：国立故宫博物院，1994年初版），页128-130。 内容简介（中文）： 金声（活动于西元十四世纪后期），江苏华亭人，字彦振，生平待考。本幅作于至正廿六年（西元一三六六年），为元明人题钱谱杂文册之七。钱谱为金声之姊丈姚元泽所集，原称古泉谱。姚氏为松江名医，因感于名士杨维祯常叹由古今泉货之变而知世变，乃集古今泉布而册之，以痛世变之变。册成，广求当时名流文士题识，诸题识清楚反映出元末乱世文人之胸怀。本幅小楷书长赋，笔法古拙，结字扁方，攲侧错落，透露出锺繇之影响。 内容简介（英文）： Chin Sheng (act. Second half 14th century, style name Yen-chen) was a native of Hua-t’ing, Kiangsu province. This poem which he wrote in 1366 is the seventh colophon to the Album Ch’ien-p’u. This album, arranged by Yao Yuan-tze, the husband of Chin’s older sister, was originally called Ku-ch’uan-p’u. Yao Yuan-tze was a famous medical doctor in the Sung-chiang area. Because he often heard Yang Wei-chen sigh about how one can tell the changes in the world through the changes in money, he collected into an album money from the past and present in order to chronicle the changes that had occurred over time. He also solicited colophons from all the famous literati. Their colophons clearly reflect their feelings during the turmoil at the end of Yuan dynasty. Chin Sheng has used small standard script to write a prose poem. The brushwork possesses a natural awkwardness, and the characters are rather squat and square. They are also organized in a slightly disorderly fashion, revealing Chung Yu’s influence.