收藏著錄@#@石渠寶笈三編(延春閣),第三冊,頁1480-1483@#@@#@收藏著錄@#@故宮書畫錄(卷三),第一冊,頁22-25@#@@#@收藏著錄@#@故宮歷代法書全集,第十冊,頁138-157、208-210@#@@#@參考書目@#@1.王競雄,〈尺牘〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁351-352。@#@@#@參考書目@#@何傳馨,〈宋吳說尺牘 冊 說上問慶門星聚尺牘〉,收入《文藝紹興-南宋藝術與文化‧書畫卷》(臺北:國立故宮博物院,2010.10),頁158-159、351-352。@#@@#@內容簡介(中文)@#@吳說(?-1169以後)字傅朋,號練塘,浙江杭州人。父親吳詩禮喜好收藏,以詩文書法見稱於時。吳說頗能傳緒家學,小楷書和行草書均有可觀,能得晉人韻度。此件手札作於紹興年間,其時宋室南渡,內府圖籍書畫散佚流失,高宗為振興文教,遂沿襲北宋太宗的作為,下詔訪求天下遺書。吳說奉命訪求的結果,所得僅止唐人臨蘭亭一件。為達成使命,乃致書友朋請求協助。 (20101015)@#@@#@內容簡介(英文)@#@ Wu Yue (style name Fupeng, sobriquet Liantang) was a native of Hangzhou, Zhejiang. His father Wu Sili was fond of collecting and renowned at the time for his literature and calligraphy. Wu Yue was also quite gifted in the family tradition, achieving considerable results in both small regular and semi-cursive scripts while attaining the harmony of Jin dynasty calligraphers.
This letter was written in the Shaoxing era (1131-1162). The Song court had already moved south, but the imperial library and collection of painting and calligraphy had been lost. Emperor Gaozong, wanting to revive culture and education under his reign, looked back to the precedent of Emperor Taizong in the Northern Song and ordered that all areas be searched for lost works. Wu Yue was commanded to also look, but he was only able to come up with a Tang dynasty copy of the preface to the Orchid Pavilion. To achieve his mission, though, he wrote letters to many friends asking for assistance.(20101015)