| 基本資料 | 藏品類型 | 書法 |
| 文物統一編號 | 故書000243N000000001 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故書00024300001 | |
| 品名 |
宋人法書（一） 冊 宋徽宗書詩 Poetry |
|
| 分類 | 法書 | |
| 作者 | 宋徽宗;Huizong | |
| 書體 | 楷書 | |
| 數量 | 一幅 | |
| 作品語文 | 漢文 | |
| 釋文 | 欲借嵯峩萬仞崇。故將工巧狀層峰。數尋蒼色如煙合。一片盤根似蘚封。院宇接連常籍竹。池亭掩映却憑松。分明裝出依巖寺。只欠清宵幾韻鍾。□風霜正臘晨。早見幾枝新。預荷東皇化。偷回北苑春。旗槍雖不類。荈孽似堪倫。已有清榮諭。終難混棘蓁。 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 33.2x63 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 題籤 | 宋徽宗御書 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈續編（乾清宮），第一冊，頁445 | |
| 收藏著錄 | 故宮書畫錄（卷三），第一冊，頁178-180 | |
| 參考書目 | 1.王耀庭，〈徽宗書詩〉，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244。 2.王耀庭，〈「七十件書畫冊頁名品特展」精選(四) — 徽宗書詩〉，《故宮文物月刊》，第149期（1995年8月），頁82-83。 3.何傳馨，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(五) — 書法、圖書文獻〉，《故宮文物月刊》，第248期（2003年11月），頁11。 | |
| 內容簡介（中文） | 宋徽宗（1082-1151），姓趙名佶，神宗十一子。性好書畫稟賦極高，書畫無不精工，並善體物情，其花鳥畫描繪，刻劃入微，尤為擅長。主導北宋晚期畫院，影響中國繪畫至鉅。宋徽宗書法，別成一體，自號瘦金書。這種書風學自唐代薛稷，特徵是筆跡細瘦。在轉折處，將藏鋒露鋒運轉提頓痕跡，特別加強，即成瘦金書的基本筆畫架構。如寫一橫，起筆處是尖，先斜下，而後橫行，收筆留有一頓點，即是特點之一。本幅選自「宋人書冊」第一幅。 | |
| 內容簡介（英文） | Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I. | |
| 內容簡介（中文） | 宋徽宗（1082-1151），姓趙名佶，神宗十一子。性好書畫稟賦極高，書畫無不精工，並善體物情，其花鳥畫描繪，刻劃入微，尤為擅長。主導北宋晚期畫院，影響中國繪畫至鉅。宋徽宗書法，別成一體，自號瘦金書。這種書風學自唐代薛稷，特徵是筆跡細瘦。在轉折處，將藏鋒露鋒運轉提頓痕跡，特別加強，即成瘦金書的基本筆畫架構。如寫一橫，起筆處是尖，先斜下，而後橫行，收筆留有一頓點，即是特點之一。本幅選自「宋人書冊」第一幅，以徽宗最著名的「瘦金體」寫成七言及五言詩一首，結體瘦勁挺拔、造型凝鍊而充滿張力。 | |
| 內容簡介（英文） | Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I, and it is composed of a seven- and five- character verse done in his famous "slender-gold" style. The delicate, tensile forms to the characters create for a tough, bony form that is also full of power and tension. | |
| 內容簡介（中文） | 宋徽宗（西元一Ο八二？一一三五年）名趙佶，雅好文藝，因推崇「豐亨豫大」，致使政事頹敗，金人遂得代之。其「瘦金書」別具特色，淵源自唐代薛稷（西元六四九？七一三年）等強調結字勁瘦的書風。此開寫詩二首，詩題皆不存，右幅疑寫宮苑奇石，左幅可能寫珍奇花卉。其橫畫多細勁，鉤挑轉折強調提頓，整體結字帶有飽滿弧度，筆劃雖細卻顯得清勁俊拔，更顯飄逸不凡。 本幅選自《宋人法書冊》。(20100711) | |
| 內容簡介（英文） | Emperor Huizong (personal name Zhao Ji) was devoted to the arts, but his policy of “Peace and Plenty for All” led to administrative collapse, which the Jin took advantage of. His distinctive “Slender Gold” script traces back to the Tang style of Xue Ji (649-713), emphasizing thin, powerful characters. This leaf has two unnamed poems. The right one appears to describe a palace garden rock, while the left one perhaps describes an exotic flower. Horizontal strokes are mostly fine and strong, the turns in the hooks and flicks of the brush emphasizing where they started and stopped, giving the characters an overall arcing fullness. The strokes are both fine and handsome for an extraordinary lightness. This is from “Album of Song Calligraphy.”(20100711) |
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