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明董其昌臨爭坐位帖 冊

十一月日。金紫光祿大夫檢校刑部尚書上柱國魯郡開國公顏真卿。謹奉書于右僕射。定襄郡王。郭公閤下。蓋太上有立德。其次有立功。是之謂不朽。抑又聞之。端揆者百寮之師長。諸侯王者人臣之極地。今僕射挺不朽之功業。當人臣之極地。豈不以才為世出。功冠一時。挫思明跋扈之師。抗迴紇無厭之請。故得身畫凌煙之閤。名藏太室之廷。吁足畏也。然美則美矣。終之始難。故曰。滿而不溢。所以長守富也。高而不危。所以長守貴也。可不儆懼乎。書曰。爾唯弗矜。天下莫與汝爭功。爾惟不伐。天下莫與汝爭能。以齊桓公之盛業。片言勤王。則九合諸侯。一匡天下。葵丘之會。微有振矜。而叛者九國。故曰。行百里者。半九十里。言晚節末路之難也。從古至今。我高祖太宗已來。未有行此而不理。廢此而不亂者也。前者菩提寺行香。僕射指麾。宰相與兩省臺省已下一行坐。魚開府及僕射率諸軍將。為一行坐。一時從權。猶未可。何況積習。更行之乎。一昨以郭令公。父子之軍。破犬羊兇逆之眾。眾情欣喜。恨不頂而戴之。是用有興道之會。僕射又不悟前失。徑率意而指麾。不顧班秩之高下。不論文武之左右。苟以取悅于軍容為心。曾不顧百寮之側目。亦何異清晝攫金之士哉。甚非謂也。君子愛人以禮。不以姑息。僕射得不深念之乎。真卿竊聞。軍容之為人。清修梵行。深入佛海。加以利衰塗割。恬然於心。固不以一毀加怒。一敬加喜。況乎東京有彌賊之績。守陝有戴天之功。朝野之人。所共貴仰。豈獨半席之座。咫尺之地。汨其志哉。且鄉里上齒。宗廟上爵。朝廷上位。皆有等威。以明長幼。故得彝倫敘。而天下和平也。且上自宰相。御史大夫。兩省五品供奉。自為一行。三師三公。師保傅。尚書丞郎。自為一行。九卿三監對之。從古以然。未嘗參錯。至如節度將軍。各有本班。卿有卿監之班。將軍有將軍之班。以是開府特進。並是勳官。用蔭即有高卑。會讌合依倫敘。豈可裂冠毀冕。反易彝倫。貴者為卑所凌。尊者為賊所偪。一至於此。振古未聞。如魚軍容。階雖開府。官即監門將軍。朝廷列位。自有次敘。但以功績既高。恩澤莫二。出入王命。眾人不敢比。不可令居本位。須別示有尊崇。只可於宰相師保座南。橫安一位。如御史臺眾尊。知雜事御史。別置一榻。使百寮共得瞻仰。不亦可乎。何必令他失位。如輔國。倚承恩澤。徑居左右僕射。及三公之上。令天下疑怪乎。聖皇時。開府。高力士。承恩宣傳。亦不如此。橫座亦不聞別有禮數。古人云。益者三友。損者三友。願僕射與軍容。為直諒之友。不願僕射為軍容佞柔之友。又一昨。裴僕射。欲令尚書失次。當時僕射貴。張目見尤。介眾之中。不欲顯過。今者興道之會。還爾遂非。再獨八座尚書。欲令便向下座。州縣軍城之禮。亦恐未然。朝廷公讌之宜。不應若此。僕射意只以為尚書之與僕射。若州佐之與縣令乎。若以尚書同於縣令。則僕射見尚書令。得如上佐事刺史乎。蓋不然矣。且尚書令與僕射。同是二品。只校上下之階。六曹尚書。並正四品。又非隔品致敬之類。尚書之事僕射。禮數未敢有失。僕射之顧尚書。何乃欲同卑吏。又據宋書百官志。八座同是第三品。隋及國家。始升別作二品。高自標致。誠此宗擠排傷甚。況於公堂。獨出常伯。當為令公初到。不欲紛披。僶俛就命。亦非理屈。朝廷紀綱。須共存立。過爾墮壞。亦恐及身。明天子忽震電含怒。責斁彝倫之人。則僕射將何辭以對。新都汪孺仲以爭坐位帖見示。神采奕奕。字形較陜刻差肥。乃知是米海岳所臨。米嘗有臨爭坐帖。在浙中。此殆其真蹟入石者耶。董其昌臨。

基本資訊

  • 作者
    董其昌
  • 書體
    草書
  • 裝裱形式
    冊(蝴蝶裝‧方幅式)
  • 數量
    一冊:十七開(本幅十七開十七幅)
  • 作品語文
    漢文
  • 集叢號-類型
    單件
  • 典藏尺寸
    本幅@#@22x29.8
  • 質地
    本幅@#@紙
  • 題跋資料
    簽@#@封面@#@楷書@#@董其昌臨爭座位帖。
  • 印記資料
    作者印記@#@宗伯學士@#@@#@作者印記@#@董氏玄宰@#@@#@鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@養心殿鑑藏寶@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
  • 參考資料
    收藏著錄@#@石渠寶笈初編(養心殿),上冊,頁484@#@@#@收藏著錄@#@故宮書畫錄(卷三),第一冊,頁100@#@@#@內容簡介(中文)@#@董其昌(西元一五五五-一六三六年),字玄宰,號思白,江蘇華亭人。萬曆十七年(一五八九)進士,官至禮部尚書,諡文敏。天才雋逸,善書畫,富收藏,尤精鑑賞。臨摹書蹟,至忘寢食。行楷之妙,稱絕一代。 他對爭坐位帖極為傾倒,嘗推許為顏書中最烜赫者。曾將所藏此帖關中本,刻入戲鴻堂帖中,並於晚年一臨再臨,其臨本僅本院收藏即已有三本,其書風正如董氏所謂:「於鬱屈瑰奇之中,自具柔情卓綽約態。」@#@@#@內容簡介(英文)@#@Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsuan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time.Tung was extremely fascinated by the cheng-tso-wei-t'ieh and of ten praised it as being Yen Chen-ch'ing's most magnificent calligraphic work. He once included the Kuan-chung version of the cheng-tso-wei-t'ieh in the blockprint of the Hsi-hung-t'ang-t'ieh. Later in his life he wrote copy after copy; the National Palace Museum alone has three copies. The style faithfully resembles what Tung himself described as, "while characterized primarily by grandiose strength, (my calligraphy) can also be delicate and gentle."
  • 地圖

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