基本資料 藏品類型 書法
作品號 故書00000100000
品名 宋蘇軾尺牘 軸
作者 蘇軾
書體 行書
色彩
裝裱形式
創作時間
數量 一軸
作品語文 漢文
集叢號 件: 開: 幅: 單件
釋文 軾將渡海。宿澄邁。承令子見訪。知從者未歸。又云。恐已到桂府。若果尔。庶幾得於海康相遇。不尔。則未知後會之期也。區區無他禱。惟晚景宜倍万自愛耳。怱怱留此帋。令子處更不重封。不罪不罪。軾頓首。夢得祕校閣下。六月十三日。 手啟夢得祕校。軾□封。

典藏尺寸 【位置】 【尺寸】(公分)
本幅上段 4.2x28.8
本幅下段 28.6x40.2
詩塘 11.7x29.7

質地 【質地位置】 【質地】
本幅
詩塘

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
題跋 清高宗 詩塘 行書 見真率
印記: 三希堂、乾、隆

印記資料 【印記類別】 【印記】
鑑藏寶璽 古希天子
鑑藏寶璽 五福五代堂寶
鑑藏寶璽 八徵耄念之寶
鑑藏寶璽 太上皇帝之寶
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 幾暇鑒賞之璽
鑑藏寶璽 懋勤殿鑒定章
鑑藏寶璽 內府珍祕
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 宣統鑑賞
鑑藏寶璽 無逸齋精鑑璽
收傳印記 黃琳美之
收傳印記 琳印
收傳印記 神品(重一)
收傳印記 項元汴印(重一)
收傳印記 項子京家珍藏
收傳印記 子孫世昌
收傳印記 項墨林鑒賞章
收傳印記 項墨林父祕笈之印
收傳印記 子孫永寶
收傳印記 墨林秘玩
收傳印記 天籟閣(半印。重一。)
收傳印記 墨林(半印)
收傳印記 子京所藏(半印)
收傳印記 項叔子章(半印)
收傳印記 父印(半印)
收傳印記 墨林山人
收傳印記 項墨林(半印)
收傳印記 退密(半印)
收傳印記 子京(半印)
收傳印記 子京(葫蘆印)
收傳印記 子京之印
收傳印記 若水軒
收傳印記 張孝思(重一)
收傳印記 張孝思賞鑑印
收傳印記 張則之
收傳印記 蒼巖
收傳印記 江上笪氏圖書印
收傳印記 笪重光印
收傳印記 道名蟾光
收傳印記 江上
收傳印記 西江直指
收傳印記 子敏
收傳印記 章守印
收傳印記 趙度(鼎形)
收傳印記 趙度印章(重一)
收傳印記 民仰

參考資料 【類別】 【參考資料】
收藏著錄 故宮書畫錄(卷二),第一冊,頁1
內容簡介(中文) 蘇軾(西元1036至1101年),眉山人,字子瞻,自號東坡居士。嘉祐進士,累官至端明殿侍讀學士。博通經史,工詩文,善書畫。 蘇軾書,當時便負盛名。論書最服顏魯公,蓋亦其源流之所自也。惟大家取法,終不肯借他人軀殼,蘇嘗自評:「東坡平時作字,骨撐肉,肉沒骨。」此六字最能自道面目
內容簡介(英文) Su Shih, from Mei-shan, was known as Tzu-chan and Tung-p'o chu-shih. He passed the chin-shih examination in the Chia-yu era(1056-1064), and was a Reader-in-Attendance of the Han-lin Academy. Su's broad talents included both the classics and history; he excelled in poetry and essays, and was a master of painting and calligraphy. In discussing the theoretical aspects of calligraphy, Su took Yen Chen-ch'ing as his guide. He once criticized his own calligraphy saying that in his characters "the bones support the flesh, but the flesh obscures the bone." These few words are most descriptive of his works.
內容簡介(中文) 蘇軾(西元一0三七-一一0一年),字子瞻,號東坡居士,四川眉山人。詩文書畫俱成大家。書法兼得二王、顏真卿、李邕、楊凝式之長,綜觀其書,姿態橫生,縱不失度,黃庭堅推譽為宋朝第一。 元符三年(一一0 0)蘇軾詔徙廉州,途中寫此尺牘予摯友趙夢得。此作又名「渡海帖」,是典型蘇軾風格,蒼勁有力,沉著痛快,為其晚年之代表作。上有項元汴千字文第八0一「具」字編號。
內容簡介(英文) Su Shi (style name Zizhan, sobriquet Dongpo jushi) was a native of Meishan, Sichuan. A master gifted at prose, poetry, painting, and calligraphy, in the latter he combined the virtues of the Two Wangs, Yan Zhenqing, Li Yong, and Yang Ningshi to broaden his manner and create a natural style not lacking in regulation, so much that Huang Tingjian called him “First in the Dynasty.” Su Shi was banished to Lianzhou in 1100 and along the way wrote this letter to his friend Zhao Mengde. Known as the “Crossing the Seas” letter, it is typical of Su’s style, mature and powerful while steady yet unrestrained -- representative of his later years. It bears the 801st character (ju 具) from the “Thousand Character Classic” as an accession number for Xiang Yuanbian’s collection.
參考書目 1.何炎泉,〈宋蘇軾尺牘 軸〉,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472-473、475-478。 2.何炎泉,〈宋蘇軾致夢得祕校尺牘〉,《故宮文物月刊》,第300期(2008年3月),頁6。 3.佘城,〈從個人風格來探討一件偽蘇軾法書〉,《中華民國建國八十年中國藝術文物討論會論文集 書畫(下)》(臺北:國立故宮博物院,1992),頁627-660。 4.〈致夢得祕校尺牘(渡海帖)〉,收入何傳馨、陳階晉、何炎泉編,《故宮法書新編(十) 宋 蘇軾墨蹟(下)》(臺北:國立故宮博物院,2011年九月初版一刷),頁84-90。
內容簡介(中文) 蘇軾(1037-1101),字子瞻,號東坡居士,眉州眉山(今四川)人。元符三年(1100)五月蘇軾由海南詔徙廉州,路過澄邁時未遇其友趙夢得而留下此札,趙對落難海南的蘇軾照顧頗多。相較早年姿媚的書風,此帖風格渾厚雄強,線條的質感也更為豐富。藏鋒的渾圓起筆,配合勁利方折的用筆,加強了線條的厚度與力感。撇、捺、鉤等較多側鋒的筆劃,也都將力量貫穿至底,加強視覺上的強度。(20061206)
內容簡介(英文) Su Shih, style name Tzu-chan and sobriquet Tung-p'o chu-shih, was a native of Mei-shan (modern Szechwan) in Mei-chou. In the fifth lunar month of 1100, Su Shih was ordered in exile to move from Hai-nan Island to Lien-chou. While passing through Ch'eng-mai, he did not have a chance to see his friend Chao Meng-teh, so he left behind this letter. Chao had taken care of Su Shih, who had been banished to Hai-nan. Compared with the “charming” style of calligraphy from his earlier years, Su's style of calligraphy in this letter is strong and honest, the quality of the lines also richer. The concealed tip of the rounded first strokes of the brush is complemented by strong and sharply angular brushwork, accentuating the thickness and strength of the lines. The hooked and falling left and right diagonal strokes were done with a more slanted brush tip, all making for a sense of power that penetrates completely and thereby enhances the force in visual terms.(20061206)
參考書目 何傳馨,〈宋蘇軾尺牘 軸〉,收入《十全乾隆─清高宗的藝術品味》(臺北:國立故宮博物院,2013.10),頁348。