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宋四家集冊 冊 宋蘇軾書跋語
故三司副使吏部陳公。軾不及見其人。然少時所識一時名卿勝士多推尊之。爾來前輩凋喪略盡。能稱誦公者漸不復見。得其理言遺事。皆當記錄寶藏。况其文章乎。公之孫師仲。錄公之詩廿五篇以示。軾三復太息。以想見公之大略云。元豐四年（西元1081年）十一月廿二日眉陽蘇軾書。
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者蘇軾
- 書體行楷書
- 裝裱形式冊(蝴蝶裝)
- 數量一幅
- 作品語文漢文
- 集叢號-件01
- 集叢號-開01
- 集叢號-幅01
- 集叢號-類型單件
- 典藏尺寸本幅@#@27.8x60.6
- 質地本幅@#@紙
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@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@#@重華宮鑑藏寶@#@@#@鑑藏寶璽@#@樂善堂圖書記@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@收傳印記@#@彭城陳氏子子孫孫永寶@#@@#@收傳印記@#@項元汴印@#@@#@收傳印記@#@天籟閣@#@@#@收傳印記@#@項子京家珍藏@#@@#@收傳印記@#@項墨林鑑賞章@#@@#@收傳印記@#@九如清玩@#@@#@收傳印記@#@也園珍賞@#@@#@收傳印記@#@韓氏之印
- 參考資料收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁709 @#@@#@收藏著錄@#@故宮書畫錄（卷三），第一冊，頁151 @#@@#@收藏著錄@#@故宮歷代法書全集，第十一冊，頁66-87、196-198@#@@#@參考書目@#@1.〈跋語〉，收入何傳馨、陳階晉、何炎泉編，《故宮法書新編（九） 宋 蘇軾墨蹟(上)》（臺北：國立故宮博物院，2011年九月初版一刷），頁30-33。 @#@@#@內容簡介（中文）@#@ 蘇軾（1036-1101）字子瞻，號東坡，四川眉山人，是宋代一流的書法家、政治家與文學家。 蘇軾學書曾師法王羲之、顏真卿、李邕、楊凝式，但他受顏真卿影響最深。此幅小字結構寬博雍容、運筆沉著穩健，筆劃間有「牽絲」相連，富行書的意味。字形雖不甚俊美，但意韻豐富，正如他主張「我書意造本無法」，書家應當有法而不泥於法。本幅選自「宋四家集冊」。(20100102)@#@@#@內容簡介（中文）@#@蘇軾（1036-1101）字子瞻，號東坡，四川眉山人，是宋代一流的書法家、政治家與文學家。 蘇軾學書曾師法王羲之、顏真卿、李邕、楊凝式，但他受顏真卿影響最深。此幅小字結構寬博雍容、運筆沉著穩健，筆劃間有「牽絲」相連，富行書的意味。字形雖不甚俊美，但意韻豐富，正如他主張「我書意造本無法」，書家應當有法而不泥於法。本幅為「宋四家集冊」之一。@#@@#@內容簡介（英文）@#@Su Shih was a native of Szechwan and is recognized as one of the premier calligraphers, politicians, and writers of the Sung dynasty. Su Shih studied the styles of Wang Hsi-chih, Yen Chen-ch'ing, Li Yung, and Yang Ning-shih, but the influence of that of Yen Chen-ch'ing was the greatest. Despite the small characters here, they are open and expansive with attractive and relaxed brushwork. Strokes as thin as silk link the brushwork together for a sense of running script. Thought the characters may not be very handsome, they are full of spirit. As he himself advocated, "My calligraphy knows no method," which means that each calligrapher should develop, rather than stick to, a certain style, This is leaf one form Album of the Four Great Sung Masters.@#@@#@內容簡介（英文）@#@ Su Shi (sobriquet Dongpo), a native of Meishan, Sichuan, was a great calligrapher, statesman, and litterateur of the Song. Su studied the styles of such ancient masters as Wang Xizhi, Yan Zhenqing, Li Yong, and Yang Ningshi (but he was probably most influenced by Yan’s style). Despite the small characters here, they are broad and dignified in mature and steady brushwork. Brush traces as thin as silk connect strokes, giving the work a sense of running script. The characters may not be particularly handsome, but they are still full of spirit. Su himself once said, “My calligraphy knows no method,” meaning that one should not inflexibly stick to a certain style. This is a leaf from the album “Collection of the Four Song Masters.”(20100102)
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