宋十二名家法書 冊 蘇軾致季常尺牘
Letter to Ch'en Tsao
法書
一夜尋黃居寀龍不獲。方悟半月前是曹光州借去摹搨。更須一兩月方取得。恐王君疑是翻悔。且告子細說與。纔取得。即納去也。却寄團茶一餅與之。旌其好事也。軾白。季常。廿三日。
| 文物統一編號 | 故書000238N000000005 |
| 作品號 | 故書00023800003 |
| 品名 |
宋十二名家法書 冊 蘇軾致季常尺牘 Letter to Ch'en Tsao |
| 分類 | 法書 |
| 作者 | 蘇軾,Su Shi |
| 書體 | 行書 |
| 數量 | 一幅 |
| 作品語文 | 漢文 |
| 釋文 | 一夜尋黃居寀龍不獲。方悟半月前是曹光州借去摹搨。更須一兩月方取得。恐王君疑是翻悔。且告子細說與。纔取得。即納去也。却寄團茶一餅與之。旌其好事也。軾白。季常。廿三日。 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 27.6x45.2 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 題跋類別 | 作者 | 位置 | 款識 | 書體 | 全文 |
|---|---|---|---|---|---|
| 題籤 | 楷書 | 宋蘇文忠公軾書。 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 收傳印記 | 項元汴 | 子京 |
| 收傳印記 | 項元汴 | 子京父印 |
| 收傳印記 | 項元汴 | 子孫世昌 |
| 收傳印記 | 項元汴 | 子孫永保 |
| 收傳印記 | 項元汴 | 天籟閣（半印） |
| 收傳印記 | 項元汴 | 平生真賞 |
| 收傳印記 | 項元汴 | 品 |
| 收傳印記 | 項元汴 | 神 |
| 收傳印記 | 項元汴 | 神游心賞（重一） |
| 收傳印記 | 項元汴 | 退密 |
| 收傳印記 | 項元汴 | 寄敖 |
| 收傳印記 | 項元汴 | 項子京家珍藏 |
| 收傳印記 | 項元汴 | 項元汴印 |
| 收傳印記 | 項元汴 | 項叔子（半印） |
| 收傳印記 | 項元汴 | 項墨林鑑賞章 |
| 收傳印記 | 安岐 | 儀周鑑賞 |
| 收傳印記 | 項元汴 | 墨林山人（半印） |
| 收傳印記 | 項元汴 | 墨林秘玩 |
| 收傳印記 | 項元汴 | 檇李項氏士家寶玩 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 蘇軾（西元１０３６－１１０１），字子瞻，號東坡，四川眉山人。宋代著名文學家，並以書法聞名於世。東坡一生歷經劫難，又於晚年貶往嶺南，擅以超脫曠達的逸懷浩氣創作作品。 東坡書法初學「蘭亭」，中年喜臨顏真卿、楊凝式，影響宋代書法甚鉅，為改革派領袖。本幅是寫與其友陳卦的書札。書法雄勁磊落，自然流暢。選自「宋十二名家法書」卌。 |
| 內容簡介 | 蘇軾（西元1036－1101），字子瞻，自號東坡居士，四川眉山人。蘇洵仲子，嘉祐進士，累官至端明殿翰林侍學士，禮部尚書，謚文忠。宋代著名文學家，並以書法聞名於世，詩、文、書、畫俱成大家。東坡一生歷經劫難，曾被控以文字訕謗君上，責受黃州，紹聖中貶瓊州，大赦北返於常州，宦海浮沈，然在文學藝術上卻有不朽之地位，擅以超脫曠達的逸懷浩氣創作作品。 東坡書法初學「蘭亭」，中年喜臨顏真卿、楊凝式，影響宋代書法甚鉅，為改革派領袖。東坡對書法有其獨到之看法，他說：「予嘗論書，以謂鍾王之跡蕭散簡遠、妙在筆畫之外，唐顏柳始集古今筆法而盡之，鍾王之法益微。」本幅是寫與其友陳慥的書札，書法雄勁磊落，自然流暢，顯然已開書法新局面。本件選自「宋十二名家法書」冊第三幅。 |
| 內容簡介 | 此幅為蘇軾（西元一0三七－一一0一年）致陳慥（字季常）的信函。內容為託季常代向王君解釋無法出借黃居寀畫的原因，為表歉意，特隨信附上團茶一餅。團茶如餅狀圓形，故以「餅」為數量詞。 北宋中晚期團茶做得極為精緻，有大、小龍鳳團、密雲龍等名品。此時「密雲龍」居小龍團之上，東坡曾得賜數餅，並作詩：「小團得屢賜，糞土視珠玉。」饋贈友人的，或為龍鳳團茶，但仍是高貴禮品。 |
| Description | This is a letter from Su Shih to Ch'en Tsao. Su asked Ch’en to explain to Wang Chun why he could not lend his Huang Chu-ts'ai painting, asking his forgiveness with a gift of caked disc tea (molded like a cake and thus counted as a "disc"). In the middle and late Northern Sung, caked tea was made with exceptional care. Varieties included "large and small dragon and phoenix" caked tea and "dense-cloud dragon" tea. At the time, dense-cloud dragon tea was superior to small dragon caked tea. When Su Shih once received a gift of several precious cakes, he composed a verse in which he likened these small cakes of tea to pearls and jade. Perhaps the gift to his friend was dragon-phoenix caked tea, which was still quite expensive at the time. |
| Description | Su Shih's style name was Tzu-chan, and he called himself Tung-p'o chu-shih, a native of Mei-shan in Szechwan. The second son of Su Hsun, having passed the chin-shih examination in the Chia-yu era(1056-1064), and he was eventually promoted to the position of Reader-in-Attendance at the Tuan-ming Hall of the Han-lin Academy, and was confered the posthumous title of Wen-chung. He was a master poet and essayist and excelled in calligraphy and painting. Although he held many high positions, his writings were often misconstrued as critical of the emperor, resulting in demotions first to Huang-chou and then to Ch'iung-chou. When the emperor finally pardoned him. He returned north, but passed away in Ch'ang-chou. Despite the ups and downs of Su's political carrer. He managed to achieve an immortal position in calligraphy, painting, and poetry. Early in his study of calligraphy, Su studied the Orchid Pavilion Preface by Wang His-chih, and in his middle years, he copied the works of Yen Chen-ch'ing and Yang Ning-shih. He had a major influence on Sung calligraphy as an innovator and leader in the art world. Su Tung-p'o had a unqiue approach to calligraphy. He once wrote, "I have written on calligraphy, feeling that the traditions of Chung Yu（151-230）and Wang His-chih（ca. 307-ca.365）are desolate and remote; the wonders of their calligraphy actually lie beyond the individual brush strokes. In the T'ang dynasty, Yen Ch'ing（709-785）and Liu Kung-ch'uan（778-865）collected and chose from the best of ancient and contemporary styles to from those of their own. As a result, the esteem for Chung Yu and Wang His-chih subsequently declined." This work by Su is a letter written to his friend Ch'en Tsao. Su's calligraphy is powerful and direct, as well as natural and quite fluid. Obviously, the style here represents a new and unique approach to calligraphy. Its influence on Sung calligraphy styles was great. This is the third leaf in the album Sung shih-erh ming-chia fa-shu. |
| Description | Su Shih, a native of Szechwan province, is better known by his style name Tung-p'o. He was famous for calligraphy in addition to poetry. Despite the vicissitudes of his official career, he achieved immortality in the scholar arts. Early in his study of calligraphy, Su studied the Orchid Pavilion Preface by Wang Hsi-chih, and in his middle years, he copied the works of Yen Chen-ch'ing and Yang Ning-shih. He had a major influence on Sung calligraphy as an innovator and leader in the art world. This work was written by Su as a letter to his friend Ch'en Tsao. Su's calligraphy is powerful and direct, as well as natural and quite fluid. This leaf is from the album Works by Twelve Famous Sung Calligraphers. |
| Description | Su Shih, a native of Mei-shan in Szechuan, had the style name Tzu-chan, but was better known by his sobriquet Tung-p'o. Although he held many high positions, his writings were often misconstrued as critical of the emperor, resulting in demotions first to Huang-chou and then to Ch'iung-chou. When the emperor finally pardoned him, he returned north, but passed away in Ch'ang-chou. Despite the ups and downs of Su's political career, he managed to achieve an immortal position in calligraphy, painting, and poetry. Su Tung-p'o had a unqiue approach to calligraphy. He once wrote, " have written on calligraphy, feeling that the traditions of Chung Yu（151-230）and Wang His-chih（ca. 307-ca.365）are desolate and remote; the wonders of their calligraphy actually lie beyond the individual brush strokes. In the T'ng dynasty, Yen Chen-ch'ing（709-785）and Liu Kung-ch'uan（778-865）collected and chose from the best of ancient and contemporary styles to from those of their own. As a result, the esteem for Chung Yu and Wang His-chih subsequently declined."This work by Su is a letter written to his friend Ch'en Tsao. Obviously, the style here represents a new and unique approach to calligraphy. Its influence on Sung calligraphy styles was great. This is the third leaf in the album Sung shih-erh ming-chia fa-shu. |
| 收藏著錄 | 石渠寶笈續編（乾清宮），第一冊，頁473-477 |
| 收藏著錄 | 故宮書畫錄（卷三），第一冊，頁154-159 |
| 收藏著錄 | 故宮歷代法書全集，第十一冊，頁90-97、198-202 |
| 參考書目 | 1.鄭瑤賜，〈蘇軾致季常尺牘〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁239-241。 2.鄭瑤賜，〈「七十件書畫冊頁名品特展」精選(四) — 蘇軾致季常尺牘〉，《故宮文物月刊》，第149期（1995年8月），頁86-88。 3.廖寶秀，〈也可以清心 — 茶器、茶事、茶畫〉，《故宮文物月刊》，第232期（2002年7月），頁13。 4.〈致季常尺牘(一夜帖)〉，收入何傳馨、陳階晉、何炎泉編，《故宮法書新編（九） 宋 蘇軾墨蹟(上)》（臺北：國立故宮博物院，2011年九月初版一刷），頁64-66。 |
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