书体:

行楷书

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:

易有太极。是生两仪。生四象。四象生八卦。八卦定吉凶。吉凶生大业。古者伏羲氏之王天下也。仰则观象于天。俯则观法于地。观鸟兽之文。与地之宜。于是始作八卦以通神明之德。以类万物之情。天地定位。山泽通气。雷风相薄。水火不相射。八卦数相错往者顺。知来者逆。是故易逆数也。朱熹书。

印记资料:

作者印记：朱熹
作者印记：朱氏印章
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
收传印记：恭亲王章
收传印记：正谊书屋珍藏图书
收传印记：罗振玉印
收传印记：乐道堂
收传印记：收付
收传印记：许国
收传印记：书印
收传印记：廉夫
收传印记：东吴生
收传印记：此外何求
收传印记：愿作贞松千岁古
收传印记：弘文之印
收传印记：时甫小孙（重一）
收传印记：困学斋
收传印记：吉祥居（重二）
收传印记：龙溪林氏（重一）
收传印记：定静堂印
收传印记：定静堂印
收传印记：定静堂印
收传印记：定静堂印（重一。四灵印）
收传印记：宗毅翰墨（重一）
收传印记：志超珍赏（重一）
收传印记：志超墨缘
收传印记：定静堂（长方）
收传印记：定静堂（方印）
收传印记：定静堂（重二。圆腰）
收传印记：我爱吾卢
收传印记：志超审定（重二）
收传印记：志超审定
收传印记：宗毅私印（重一）
收传印记：定静堂收藏印
收传印记：志超鑑赏
收传印记：志超鑑赏
收传印记：来青阁（重一）
收传印记：台员林氏定静堂所藏书画
收传印记：汲古书屋
收传印记：定静
收传印记：林宗毅印
收传印记：林宗毅印（重一）
收传印记：同心之言
收传印记：庄敬日疆
收传印记：宗毅长寿
收传印记：美意延年
收传印记：宗毅私印
收传印记：林诚道印

题跋资料:

题跋类别：题跋；作者：罗振玉木匣宸翰楼所藏古今名蹟第一。罗振玉谨题。；书体：篆书；全文：高宗纯皇帝御题宋朱文公书易系真蹟。宸翰楼所藏古今名蹟第一。罗振玉谨题。印记：宸翰楼

题跋类别：题跋；作者：陈之迈幅后五十八年己酉（西元一九六九年）初春陈之迈拜观并识；书体：行书；全文：朱文公真蹟流落海外。志超仁兄收而藏之。洵盛事也。五十八年己酉（西元一九六九年）初春陈之迈拜观并识。印记：之迈长年

主题:

技法:

参考资料:

收藏着录： 故宫受赠文物选萃，页59-63、154-155 收藏着录： 林宗毅先生捐赠书画目录，页1-9、111 参考书目： 1.江兆申，〈朱晦翁书易系辞〉，《故宫文物月刊》，第39期（1986年6月），页64-73。2.王耀庭，〈宋朱熹书易系辞〉，《故宫文物月刊》，第200期（1999年11月），页64。3.王耀庭，〈「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12。4.朱惠良，〈朱子书法新探　书易系辞〉，《故宫文物月刊》，第337期（2011年4月），页34-47。 内容简介（中文）： 朱熹（1130－1200），字元晦，号晦庵，人称考亭先生。徽州婺源（今属江西）人，南宋哲学家。本幅是朱熹存世仅见的大字墨蹟，所书为《易经》上的「系辞」，共一百零七字，经元明两代藏家之手，于清乾隆时入宫，着录于《石渠宝笈．初编》，为流传有绪之作品。此册楷书为主，笔划却是爽快有力。墨色黝黑，非常醒目。林宗毅先生捐赠于民国72年。(20110204) 内容简介（中文）： 朱熹（1130－1200），字元晦，号晦翁、晦庵，安徽婺源人。以父亲任官福建，于福建延平出生。绍兴十八年（1148）进士。朱子的学术成就，尤其对四书的章句注解，成了南宋的官学，以后士子科举必读的书，影响至今。 本件是行楷大书，每字在五寸之上，共一百零七个字。朱熹大约于四十五岁到五十三岁之间写成。朱熹对书法也有所讲究。从朱子的楷书作品与唐虞世南＜比较，笔法与结体相近。易系辞字的结体，上重而下轻，也与虞字相近。行笔笔势深沉而急速，时有飞白，大有快剑斫阵，筋骨突出，这也是朱熹书蹟常见的特征。此件为林宗毅先生于民国七十五年捐赠故宫（王耀庭） 内容简介（中文）： 朱熹（一一三０－一二００），字元晦，号晦庵，人称考亭先生。徽州婺源（今属江西）人，南宋哲学家。本幅十四开，是朱熹存世仅见的大字墨蹟，所书为《易经》上的「系辞」，共一百零七字，经元明两代藏家之手，于清乾隆时入宫，着录于《石渠宝笈．初编》，为流传有绪之作品。此册楷书为主，笔划却是爽快有力。墨色黝黑，非常醒目。本册为林宗毅先生捐赠。 内容简介（中文）： 朱熹（西元一一三０－一二００年），江西婺源人，家福建建阳。字元晦，一字仲晦，号晦庵，又号云谷老人，更号沧洲病叟，晚号遯翁，人称考亭先生。工书，而不以书名，固以学掩之，然寻其书则点画波磔，无一不合书家矩矱。本幅大字行书约五寸见方，内容为易经上之系辞，共一百零七字，为仅见之佳作。通幅行笔迅疾，纵逸奔放，擒纵自如，气势雄健，神化无穷。 内容简介（英文）： Chu Hsi was native of Wu-yüan, Kiangsi and lived in Fu-yang, Fukien. His style names were Yüan-hui and Chung-hui, and his sobriquets were Hui-an, Yün-ku lao-jen and Ts'ang-chou ping-sou. He was later known as Tun-weng and others called him K'ao-ting hsien—sheng. Although Chu was a skilled calligrapher, his fame in calligraphy was overshadowed by his distinction as a great scholar. If one examines his calligraphy, however, there is not one stroke that does not adhere to calligraphic rules. The Hsi-tz'u chapter of the I-ching (Book of Changes) has been written with large characters in the semi-cursive script on this scrol1. There are a total of 107 characters in this rare masterwork. The semi-cursive script of this scroll is swift and unrestrained and makes pauses and flows freely. The writing possesses a vehement force and an inexhaustible spirit. 内容简介（英文）： Commentary to The Book of ChangesChu Hsi (1130-1200)Sung DynastyChu Hsi (style name Yüan-hui, sobriquet Hui-an) was known also as Mr. K’ao-t’ing. A native of Wu-yüan, Hui-chou (now part of Kiangsi), he was a famous Southern Sung philosopher.This album donated by Mr. Lin Tsung-i consists of 14 leaves and is the only surviving example of large-character calligraphy by Chu Hsi. Here, he has transcribed the “Appendix” commentary to The Book of Changes, 107 characters in all. Passing through the hands of Ming and Ch’ing collectors, it entered the court of the Ch’ing emperor Ch’ien-lung and was recorded in the imperial catalogue of painting and calligraphy, making for a well-documented history. Mainly in regular script, the brush strokes are quick and powerful while the ink dark and eye-catching. 内容简介（英文）： Zhu Xi (style name Yuanhui, sobriquet Hui’an) was known also as “Mr. Kaoting.” A native of Wuyuan, Huizhou (now part of Jiangxi), he was a famous philosopher in the Southern Song period.This album consists of fourteen leaves and is the only surviving example of large-character calligraphy by Zhu Xi. Here, he has transcribed the “Appendix” commentary to The Book of Changes, 107 characters in all. Passing through the hands of Ming and Qing dynasty collectors, it entered the court of the Qing emperor Qianlong and was recorded in the imperial catalogue of painting and calligraphy (Treasure Chests of the Stone Moats, First Volume), demonstrating its well-documented history. Done mainly in regular script, the brush strokes here are quick and powerful while the ink dark and eye-catching.Mr. Lin Tsung-yi donated this work to the National Palace Museum in 1983.(20110204)