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宋元寶翰 冊 宋趙孟堅致嚴郎中太丞尺牘
孟堅前日荷下顧。又承惠臟腑藥。偶連日調利尚未服。儲留俟或對證則服之也。忩忩言歸。家釀二壺。持浼。幸留頓。仍今僕者面及。餘嗣謝次。孟堅簡上嚴郎中太丞。
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者趙孟堅
- 書體草書
- 裝裱形式冊(蝴蝶裝)
- 數量一幅
- 作品語文漢文
- 集叢號-件10
- 集叢號-開11
- 集叢號-幅11
- 集叢號-類型單件
- 典藏尺寸本幅@#@25.5x33
- 質地本幅@#@紙
- 印記資料收傳印記@#@張篤行印@#@@#@收傳印記@#@友古軒
- 參考資料收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁710 @#@@#@收藏著錄@#@故宮書畫錄（卷三），第一冊，頁221 @#@@#@參考書目@#@1.朱惠良，〈趙孟堅致嚴堅中太丞尺牘〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁253。 2.朱惠良，〈「七十件書畫冊頁名品特展」精選(一) — 趙孟堅致嚴堅中太丞尺牘〉，《故宮文物月刊》，第146期（1995年5月），頁70。 @#@@#@內容簡介（中文）@#@趙孟堅(1199-1264，一作1199-1267)南宋畫家。字子固，號彝齋居士，海鹽(今屬浙江)人。晚年隱居秀州(今浙江嘉興)廣陳鎮。宋之宗室，系出安定郡王，太祖十一世孫。理宗寶慶二年(1266)進士，曾為湖州掾，入轉運司幕，知諸暨縣，嗣為御史所劾，罷歸；後曾在賈似道處作幕僚。能詩，善書法，工畫水墨梅、蘭、竹、石，取法揚無咎；尤精白描水仙，筆致細勁挺秀，趙孟頫曾評他：「所作墨花，於紛批側塞中而就條理，亦一難也。」為人修雅博識，人比之米芾。有時東西遊適，舟中僅留一禢憩息之地，餘皆所挾雅玩之物，意列吟弄，至忘寢食，岸人知為趙子固書畫船。嘗得姜白石所藏定武本契帖，立淺水中，對人說：「蘭亭在此，余不足問。」因題於卷首：「性命可輕，至寶是保。」傳世作品有《白描水仙圖》卷，現藏天津市藝術博物館；《墨蘭圖》卷，藏北京故宮博物院；《歲寒三友圖》冊頁，現藏台北故宮博物院。詩文有《彝齋文編》。@#@@#@內容簡介（中文）@#@趙孟堅（西元1199-約1264年），字子固，號彝齋居士。浙江吳興人，宋之宗室，寶慶二年（1226）進士，景定初年為翰林學士承旨，入元不仕，修雅博識，善畫，工詩文，酷嗜法書，多收金石法帖，每泛舟漫遊，舟中備琴酒書畫，吟詩賞玩，世人喻為書畫舫。嘗得姜蘷舊藏定武蘭亭，過霅之弁山，風作舟覆，子固入水惟救此帖，謂性命可輕，至寶是保，此帖故名「落水蘭亭」。此牘行筆可見鍾繇法，為子固傳世書蹟中之精品。本幅選自「宋元寶翰」冊第十一幅。@#@@#@內容簡介（英文）@#@Chao Meng-chien(style name Tzu-ku; sobriquet I-chai chu-shih) was a native of Wu-hsing, Chekiang. He was a scion of the Sung imperial family, and he received his chin-shih civil service degree in 1226. In the beginning of the Ching-ting era(1260-1264), he served as a Hanlin Academician. However, he did not serve the Mongols in the succeeding Yuan dynasty, indulging himself, rather, in his many studies. Chao Meng-chien was good at prose and poetry, excelling at painting and calligraphy. He collected many pieces of ancient calligraphy. Chao would often take his collection of painting and calligraphy on a boat, which his contemporaries called a "boat of painting and calligraphy" He took the Ting-wu version of Wang Hsi-chih's(307-365) famous Preface to the Lan-t'ing Pavilion on a cruise one day. When a sudden wind capsized the boat, his collection went into the water. Chao Meng-chien was only able to save this work, which became known as the "Water-drenched Lan-t'ing." Chao thus considered this work more important than his own life. This piece reveals the influence of Chung Yu's(151-230) style, and it is a masterpiece of Chao's calligraphy. This is the eleventh leaf from the album Sung Yuan pao-han.@#@@#@內容簡介（英文）@#@Chao Meng-chien (style name Tzu-ku; sobriquet I-chai chu-shih) was a native of Wu-hsing, Chekiang. He was a scion of the Sung imperial family, and he received his chin-shih civil service degree in 1226. In the beginning of the Ching-ting era (1260-1264), he served as a Hanlin Academician. However, he did not serve the Mongols in the succeeding Yuan dynasty, indulging himself, rather, in his many studies. Chao Ming-chien was good at prose and poetry, excelling at painting and calligraphy. He collected many pieces of ancient calligraphy. Chao would often take his collection of painting and calligraphy on a boat, which his contemporaries called a "boat of painting and calligraphy." He took the Ting-wu version of Wang Hsi-chih's (307-365) famous Preface to the Lan-t'ing Pavilion on a cruise one day. When a sudden wind capsized the boat, his collection went into the water. Chao Ming-chien was only able to save this work, which became known as the "Water-drenched Lan-t'ing." Chao thus considered this work more important than his own life. This piece reveals the influence of Chung Yu's (151-230) style, and it is a masterpiece of Chao's calligraphy. This is the eleventh leaf from the album Sung Yuan pao-han.
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