元趙孟頫書晝錦堂記 卷 趙孟頫 , 32.5x173.4

詳細資料

基本資料 藏品類型 書法
文物統一編號 故書000082N000000000 抽盤點紀錄 修護紀錄
作品號 故書00008200000
品名 元趙孟頫書晝錦堂記 卷
Record of the Chou-chin Studio
分類 法書
作者 趙孟頫
書體 行書
創作時間 元仁宗延祐七年(1320)
數量 一卷
作品語文 漢文
釋文 相州晝錦堂記。仕宦而至將相。富貴而歸故鄉。此人情之所榮。今昔之所同。困阨閭里。庸人孺子。皆得易而侮之。若季子不禮於其嫂。買臣見棄於其妻。一旦高車駟馬。旗旄導前。騎卒擁後。夾道之人。相與駢肩累迹。瞻望咨嗟。而所謂庸夫愚婦者。奔走駭汗。以自悔罪於車塵馬足之間。此一介之士。得志當時。而意氣之盛。昔人比之衣錦之榮者也。惟大丞相魏國公則不然。公。相人也。世有令德。為時名卿。自公少時。已擢高科。登顯仕。海內之士。聞下風而仰餘光者。蓋以有年矣。所謂將相而富貴。皆公所宜素有。非如窮阨之僥幸得志於一時。出於庸夫愚婦之不意。以驚駭而夸耀之也。然則高牙大纛。不足為公榮。桓圭袞裳。不足為公貴。惟德被生。功施社稷。勒之金石。播之聲詩。以耀後世而垂無窮。此公之志。而士亦以此望於公也。豈止夸一時榮一鄉哉。公在至和中。嘗以武康之節。來治於相。乃作晝錦之堂於後圃。既又刻詩於石。以遺相人。其言以快恩讎。矜名譽為可薄。蓋不以昔人所夸者為榮。而以為戒。於此見公之視富貴為何如。而其志豈易量哉。故能出入將相。勤勞王家。而夷險一節。至於臨大事。決大議。垂紳正笏。不動聲色。而措天下於太山之安。所謂社稷之臣也。其豐功盛烈。所以銘彝鼎而被絃歌者。乃邦家之光。非閭里之榮也。余雖不獲登公之堂。幸嘗竊誦公之詩。樂公之志有成。而喜為天下道也。於是乎書。歐陽永叔此記。直記其事。蓋一筆揮就。善於形容者耳。延祐黍年(西元一三二0年)八月三日。快雨時晴。天氣晶明。書于松雪齋。子昂。

典藏尺寸 【位置】 【尺寸】(公分)
本幅 32.5x173.4

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
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 乾隆御賞之寶
鑑藏寶璽 養心殿鑑賞寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 宣統御覽之寶
收傳印記 軍假司馬
收傳印記 合(重一)
收傳印記 同(重一)
作者印記 趙氏子昂
作者印記
作者印記 大雅
作者印記 鷗(重一)
作者印記 波(重一)

參考資料 【類別】 【參考資料】
收藏著錄 石渠寶笈(初編),上冊,頁533
收藏著錄 故宮書畫錄(卷一),第一冊,頁78-79
內容簡介(中文) 趙孟頫(西元一二五四-一三二二年),湖州(今浙江吳興)人。字子昂,自號松雪道人,也稱鷗波,宋太祖十一世孫,秦王德芳之後。仕元,至翰林學士承旨,封魏國公,諡文敏。才氣橫溢,讀書過目成誦,詩文清遠。工書善畫,亦善刻印。書法倡復古,影響後世甚大。其書凡三變,初臨宋高宗,中學鍾繇及二王,晚學李北海。 本幅書歐陽修相州晝錦堂記,結體謹飭內斂,筆墨遒勁秀發,通體氣勢暢旺,深受李北海影響。是其逝世前兩年,六十七歲之作。
內容簡介(英文) Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsueh tao-jen; also known as Ou-p’o) was a native of Wu-hsing, Chekiang. Although he was a descendent of the Sung royal family, he served the Yuan government as an Academician in the Hanlin Academy. He was an able calligarpher and excelled at painting and seal carving. In calligraphy he advocated returning to ancient styles, and he deeply influenced later generations. There are three distinct changes in Chao’s calligraphy. In his early years he imitated the style of the Sung emperor Kao-tsung (r. 1127-1162); in his middle years he studied the styles of Chung Yu (151-230), Wang Hsi-chih (307-365), and Wang Hsien-chih (344-388); and in his late years he studied the style of Li Yung (678-747). The title of this work is the Record of Ou-yang Hsiu’s Chou-chin Studio in Hsiang-chou. With strictly structured characters held together within themselves and forceful and handsome brushwork, the calligraphy of the work is luxuriant and demonstrates the profound influence of Li Yung. This work was composed two years before Chao’s death when he was sixty-six.
網頁展示說明 趙孟頫(西元一二五四-一三二二年),湖州(今浙江吳興)人。字子昂,自號松雪道人,也稱鷗波,宋太祖十一世孫。仕元,至翰林學士承旨,封魏國公,諡文敏。工書善畫,亦善刻印。書法倡復古,影響後世甚大。其書凡三變,初臨宋高宗,中學鍾繇及二王,晚學李北海。本幅書歐陽修〈相州晝錦堂記〉,結體謹飭內斂,筆墨遒勁秀發,通體氣勢暢旺,深受李北海影響。是其逝世前兩年,六十七歲之作。(20110710)
網頁展示說明 Zhao Mengfu (style name Zi'ang; self-styled sobriquet Songxue daoren), a native of Huzhou (modern Wuxing in Zhejiang), descended from the Song imperial clan but also served the Yuan court as a Hanlin Academician. He was also known as Oubo and was the eleventh-generation descendant of Emperor Taizu. Widely studied, his poetry is pure; Zhao also excelled at painting, calligraphy, and seal carving. In calligraphy, he advocated revivalism, greatly influencing later generations. His calligraphy underwent 3 phases: imitating the style of Song Gaozong in early years; studying those of Zhong You, Wang Xizhi, and Wang Xianzhi in middle years; and following that of Li Yong in later years. This work, done two years before Zhao's death at the Chinese age of 67, is Record of Ouyang Xiu's Zhoujin Studio in Xiangzhou. With structured, tight-knit characters in handsome brushwork, the rich style shows the influence of Li Yong. (20110710)
網頁展示說明 趙孟頫(1254-1322)、湖州(現在の浙江省湖州吳興区)の人。字は子昂、號は松雪道人、鷗波とも稱された。宋太祖の11代目の子孫。元に仕えて翰林学士となり、魏國公に封ぜられた。諡號は文敏。書に優れ畫も善くし、刻印にも秀でていた。書法では復古を提唱し、後世に絕大な影響を与えた。その書は三変した。初めは宋高宗を臨模し、中年期には鍾繇と二王を学び、晩年は李邕を学んだ。本作は欧陽修「相州昼錦堂記」を書いたもので、結体は謹厳で含みがあり、筆墨は力強く才気に溢れ、全体に気勢旺盛で李邕の影響を強く受けている。逝去の2年前、67歳の作。(20110710)