| 基本資料 | 藏品類型 | 書法 |
| 文物統一編號 | 故書000492N000000000 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故書00049200000 | |
| 品名 |
元趙孟頫書晝錦堂記 軸 |
|
| 分類 | 法書 | |
| 作者 | 趙孟頫 | |
| 書體 | 行書 | |
| 數量 | 一軸 | |
| 作品語文 | 漢文 | |
| 釋文 | 仕宦而至將相。富貴而歸故鄉。此人情之所榮。而今昔之所同也。蓋士方窮時。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。而騎卒擁後。夾道之人。相與駢肩累跡。瞻望咨嗟。而所謂庸夫愚婦者。奔走駭汗。羞愧俯伏。以自侮罪於車塵馬足之間。此一介之士。得志當時。而意氣之盛。昔人比之衣錦之榮者也。惟大丞相衛國公則不然。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。聞下風而望餘光者。蓋亦有年矣。所謂將相而富貴。皆公所宜素有。非如窮厄之人。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。惟德被生民。而功施社稷。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。而措天下於泰山之安。可謂社稷之臣矣。其豐功盛烈。所以銘彝鼎而被弦歌者。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。子昂。 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 159.3x54 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 絹 |
| 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 | 御書房鑑藏寶 | |
| 鑑藏寶璽 | 嘉慶御覽之寶 | |
| 鑑藏寶璽 | 宣統御覽之寶 | |
| 作者印記 | 趙氏子昂 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（御書房），下冊，頁1092 | |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁8 | |
| 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。 | |
| 收藏著錄 | 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. |
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