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宋林逋手札二帖 冊 逋奉簡三君
逋奉簡三君。數日前曾勞下訪。屬以多故。未果致謝。感愧感愧。牓名必已見了。彼珍重者。果為兩手所揞矣。呵呵。如因暇時許相過否。馳此不宣。從表林逋頓首。四月十七日。所託買物錢二索。省是前人留下。尚恐未足。餘俟面致。多感多感。
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- 典藏尺寸本幅@#@31.5x38.2
- 質地本幅@#@紙
- 題跋資料題跋@#@清高宗@#@本幅左右示票紙@#@乙酉暮春月御題。三用蘇軾韻@#@行書@#@金錯刀書狀樛曲。瑤躞錦贉古色綠。是誰遺蹟乃驚人。林句蘇和兩珠玉。世間書卷豈不夥。半屬偽為半荏俗。逋清坡健此聯珍。煥覺虹光屋梁燭。攜來即境證精神。三度賡吟意未足。論帖早匹乞鹿脯。說偈不礙燒豬肉。兩翁出處縱殊致。一例高風有史錄。佳湖山處緬芳踪。異代同時通款曲。誰謂兩翁真往哉。後人常撫祠前竹。祠中古貎粹如生。鄙矣長生學服菊。乙酉暮春月御題。三用蘇軾韻。 @#@@#@題跋@#@裘曰修@#@本幅左右示票紙@#@臣裘曰修恭跋@#@行書@#@內府所藏有林逋詩。蘇軾書後。乾隆丁丑。皇上用原韻題其端。嗣是凡再疊韻。皆翠華南幸時作也。讀之覺風雲壯色。山水增輝。玉局翁當為卻步。歲次戊子。臣修購得此冊於金臺王氏。為和靖二札。蓋正定梁清標家舊物也。冊尾有石田諸人詩。並和坡韻。因敬錄御題於左右幅。且以見人苟自立。雖遯跡於枯槁寂寞中。猶能邀聖天子異代之知。撫其遺墨。往復歌詠如是。使當斯世而尚有隱君子如林逋其人者。其亦可以聞風興起也哉。臣裘曰修恭跋。
- 印記資料鑑藏寶璽@#@古希天子@#@@#@收傳印記@#@四川安撫制置使之印（重一半印）@#@@#@收傳印記@#@黃美曾觀@#@@#@收傳印記@#@安氏儀周書畫之章@#@@#@收傳印記@#@沈周寶玩
- 參考資料收藏著錄@#@石渠寶笈續編（寧壽宮），第五冊，頁2657 @#@@#@收藏著錄@#@故宮書畫錄（卷三），第一冊，頁12 @#@@#@參考書目@#@何傳馨，〈宋林逋手札二帖 冊 逋奉簡三君〉，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315-319。@#@@#@參考書目@#@何炎泉、陳階晉、陳韻如，〈宋林逋手札二帖 冊 逋奉簡三君〉，收入《明四大家特展-沈周》（臺北：國立故宮博物院，2014.01），頁248-257、338-339。@#@@#@參考書目@#@邱士華，〈宋林逋手札二帖 冊 逋奉簡三君〉，收入《行篋隨行-乾隆南巡行李箱中的書畫》（臺北：國立故宮博物院，2017.03），頁178-181。@#@@#@內容簡介（中文）@#@林逋（西元967-1028），字君復，錢塘（今杭州）人，少力學好古，性恬淡，隱於西湖之孤山。不娶無子，種梅養鶴，自稱梅妻鶴子。仁宗諡和靖先生。工行草書，蘇軾稱林書似李西臺肉稍少。歷來評論林逋的書風，均讚揚他的清勁，正如他的詠梅名句「暗香疏影」，逸出塵外，其清處，呈現於其寬鬆之行距，故篇幅中有一股疏朗的情趣，其勁處則表現在筆劃的力量。此件下筆以尖削居多，而轉折處也顯得方硬，單字之結體往往置重心於一角。本幅選自「宋林逋手札二帖」冊第二幅。@#@@#@內容簡介（英文）@#@Lin P'u (style name Chu-fu) was a native of Ch'ien-t'ang (modern Hangchou). As a youth he was a diligent student, and later he forsook wordly matters and became a hermit at Solitary Peak at Western Lake in Hangchou. With no spouse or children, he grew plum trees and raised cranes instead, considering them his family. He was posthumously entiltled by emperor Jen-tsung(r.1023-1063) as Ho-ching. Lin excelled at running and grass scripts, which Su Tung-p'o(1036-1101) once called pared-down versions of the brush strokes of Li Chien-chung(945-1013). All later critics of Lin's calligraphic style applaud the clarity and strength of his brushwork, just like Lin's famous stanza admiring the plum blossom, "Hidden fragrance and scattered shadows." Untrammeled and unfettered, the clarity of this work is revealed in the generous spacing between the lines which produces a feeling of peace and calm. The forceful places are represented by the powerful use of the brush. The tip of the brush has been used frequently, and the turns in the direction of the brush are hard. The composition and weight of each character has been shifted to one side. This is the second leaf in the album Sung Lin P'u shou-cha.
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