宋徽宗詩帖 卷 趙佶;徽宗;Huizong , 27.2x263.8

詳細資料

基本資料 藏品類型 書法
文物統一編號 中書000001N000000000 抽盤點紀錄 修護紀錄
作品號 中書00000100000
品名 宋徽宗詩帖 卷
Poem
分類 法書
作者 趙佶;徽宗;Huizong
書體 楷書
數量 一卷
作品語文 漢文
釋文 穠芳依翠萼。煥爛一庭中。零露霑如醉。殘霞照似融。丹青難下筆。造化獨留功。舞蝶迷香徑。翩翩逐晚風。宣和殿製。

典藏尺寸 【位置】 【尺寸】(公分)
本幅 27.2x263.8
隔水一 27.2x12.3
隔水二 27.2x12.7
隔水三 27.2x11.2
拖尾 27.2x123.9

質地 【質地位置】 【質地】
本幅
隔水一
隔水二
拖尾

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
題跋 陳邦彥 拖尾 陳邦彥敬觀 行書 宣和書畫。超軼千古。此卷以畫法作書。脫去筆墨畦逕。行間如幽蘭叢竹。泠泠作風雨聲。真神品也。陳邦彥敬觀。
印記: 彥、世南

印記資料 【印記類別】 【印記】
作者印記 御書
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 五福五代堂古稀天子寶
鑑藏寶璽 樂壽堂鑑藏寶
鑑藏寶璽 古希天子
鑑藏寶璽 八徵耄念之寶
收傳印記 宜爾子孫
收傳印記 樂聖且銜杯
鑑藏寶璽
收傳印記 阿爾喜普之印
收傳印記 東平
收傳印記 九如清玩
收傳印記 也園珍賞
收傳印記 御賜忠孝堂長白山索氏珍藏
收傳印記 樂葊
收傳印記 丹誠
收傳印記 真賞
收傳印記 珍祕
收傳印記 耿會侯鑑定書畫之章
收傳印記 湛思記
收傳印記 雲龍(重一。均存半。一存雲。一存龍。)
收傳印記 (一半印不辨)

參考資料 【類別】 【參考資料】
收藏著錄 故宮書畫錄(卷一),第一冊,頁68
內容簡介(中文) 宋徽宗(西元一○八二-一一三五年),神宗第十一子,姓趙名佶。好書畫,山水、人物、花鳥、墨竹無不精工極妍,刻劃入微。行草正書筆勢勁逸,近法黃庭堅,遠宗薛稷,峻挺瘦勁,號為「瘦金體」。本幅大字五言詩,健拔有神,以畫法作書,行間如幽蘭叢竹,泠泠作風雨聲。
內容簡介(英文) Emperor Hui-tsung (family name Chao and personal name Chi) was the 11th son of Emperor Shen-tsung. A dominant figure in court art and aesthetics, he himself was skilled at calligraphy and painting, mastering the genres of landscapes, figures, birds-and-flowers, and ink bamboo. Historians of calligraphy have described Hui-tsung’s semi-cursive, cursive, and standard scripts as being forceful yet elegant. He modeled his style on that of his contemporary, Huang T’ing-chien (1045-1105), and, farther back in time, on that of Hsueh Chi (649-713). Hui-tsung transformed these idioms into his own style, known as “slender gold,” which expresses a genius that the pursuit of mere form and appearance cannot capture.
參考書目 1.王耀庭,〈宋徽宗詩帖〉,收入王耀庭、許郭璜、陳階晉編,《故宮書畫菁華特輯》(臺北:國立故宮博物院,1987年初版,2001年再版),頁38-39。 2.何炎泉,〈宋徽宗詩帖 卷〉,收入林柏亭主編,《大觀-北宋書畫特展》(臺北:國立故宮博物院,2006年初版一刷),頁416-417、421-425。 3.〈宋徽宗詩帖〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁180。 4.王耀庭,〈宋徽宗詩帖〉,《故宮文物月刊》,第200期(1999年11月),頁62-63。 5.陳韻如,〈宋徽宗詩帖〉,收入蔡玫芬主編,《精彩一百 國寶總動員》(臺北:國立故宮博物院,2011年九月初版一刷),頁220-221。
內容簡介(中文) 宋徽宗(1082-1135),姓趙名佶,神宗十一子,哲宗弟。他生性喜好藝術,稟賦極高,書畫無不精工。書法達到很高的造詣,所創「瘦金體」,用筆堅挺犀利,雖流美而不纖弱,婀娜中帶剛勁,外觀秀麗精緻深具富貴氣息,在書史上別具一格。此作有朱欄界格,字大近五寸,是傳世徽宗書蹟中最大的,行筆更為挺拔剛強,展現出異於小字的不同氣勢。(20061206)
內容簡介(英文) Emperor Hui-tsung, personal name Chao Chi, was the eleventh son of Emperor Shen-tsung. With a deep appreciation for the arts, his achievements in this respect were unmatched and his painting and calligraphy exceptionally refined. In calligraphy, he reached considerable heights, creating the so-called “slender gold script”, in which the brushwork is strong and sharp. Beautifully flowing but not weak, it has a delicate beauty that is also as tough as steel. The appearance of refinement also has a great sense of nobility, being in a class of its own in the history of calligraphy. This work, done in a grid of red lines, includes characters that are unusually large. In fact, these are the largest characters found among surviving examples of Hui-tsung's calligraphy. The brushwork is even more upright and stronger than in other works, reflecting a force differing from that of smaller characters.(20061206)
內容簡介(中文) 宋徽宗(1082-1135),姓趙名佶,好書畫,山水、人物、花鳥無一不工。行草正書筆勢勁逸,近法黃庭堅,遠宗薛稷,俊挺瘦勁,別成一體,號為「瘦金體」。 本卷書五言律詩一首,字大近五寸,為宋徽宗存世書蹟中字最大者,細毫細筆筆畫爽利勁健的,豎筆與橫筆都講究收筆動作,撇筆如刃銳,捺筆似鋼折,挑鉤之間既表現速度也講究姿態。 (20110913)
內容簡介(英文) Emperor Huizong (personal name Zhao Ji) was good at calligraphy and painting, being masterful in all the subjects of landscapes, figures, and birds-and-flowers. In calligraphy, the brush force in his running, cursive, and regular scripts is strong yet spirited, approaching the method of Huang Tingjian. Reaching back to the style of Xue Ji, Huizong developed a bony yet strong manner of his own that became known as “slender gold script.” This work consists of a five-character regulated verse, the characters being exceptionally large at almost five Chinese inches tall and the largest of any surviving example of Huizong’s calligraphy. The brushwork is even more upstanding than in small-character calligraphy. “Slender gold script” was a calligraphic style created by Huizong that especially emphasized sharp and strong strokes, the movement of retracting the brush for vertical and horizontal strokes revealing particular attention. The left-falling diagonal strokes are also as sharp as a knife, and the right-falling ones as strong as bent steel, the flicked hooks expressing speed that emphasizes gesture. (20110913)
網頁展示說明 宋徽宗(1082-1135),姓趙名佶,宋代第八位皇帝,生活奢華,致使成為亡國之君,然性好書畫,且稟賦極高,書畫無不精工,並善體物情,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,自號「瘦金書」。這種書風源自唐代薛稷(649-713)、薛曜(活動於684-704),再上則是同出自褚遂良(596-713)。 瘦金體書,特徵是筆畫細瘦,在轉折處,將藏鋒、露鋒、運轉、提頓等痕跡強化並保留下來,那就成為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。結體雖楷,而整體運筆,大都直來直往,飄忽快捷,似行如草。本幅朱絲欄界格,字大近5寸,為傳世所見徽宗書法字跡最大者,行筆於瘦金體中屬剛勁一格。 釋文:穠芳依翠萼,煥爛一庭中。零露霑如醉,殘霞照似融。丹青難下筆,造化獨留功。舞蝶迷香徑,翩翩逐晚風。 (20110913)
參考書目 劉芳如,〈宋徽宗詩帖 卷〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁82-87、306。
參考書目 國立故宮博物院編輯委員會,〈宋徽宗詩帖 卷〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁38-39。
參考書目 吳誦芬,〈宋徽宗詩帖 卷〉,收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》(臺北:國立故宮博物院,2022.10),頁32-33。

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