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清張瑞圖書詩 卷
今夕何夕豈元徂。客子無以為歡娛。劍在腰間酒在壼。酒酣擊劍轟喧呼。我忽不樂胡為乎。我忽不樂胡為乎。僮僕漸親群朋隔。故人感慨說除夕。男子墮地志四方。兒曹豈足論疇昔。自胡之反持干戈。燕薊論危歲月多。春風不度黃花戍。砲火已逼白狼河。一年又見一年易。又向明年問消息。夜半斗廻照吳鈎。睡壼無聲轉凄惻。瀛海公署守歲之作。用杜工部起語。
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者張瑞圖,Zhang Ruitu
- 書體草書
- 裝裱形式卷
- 數量一卷
- 作品語文漢文
- 集叢號-類型單件
- 典藏尺寸本幅@#@31.4x290.7@#@@#@前隔水@#@31.4x10.2@#@@#@後隔水@#@31.4x10.3@#@@#@拖尾@#@31.4x356.2
- 質地本幅@#@紙
- 題跋資料題跋@#@李煜瀛@#@拖尾@#@民國四十年四月書于孟都。石曾。@#@行書@#@（文不錄）@#@@#@題跋@#@李煜瀛@#@拖尾@#@參看邢量諸札與趙卷冊諸跋。跋者附誌於孟都。@#@行書@#@（文不錄）@#@@#@題跋@#@李煜瀛@#@拖尾@#@辛卯四月（西元一九五一年）中旬。煜瀛又識。@#@行書@#@（文不錄）@#@@#@題跋@#@李煜瀛@#@拖尾@#@行書@#@（文不錄）
- 印記資料作者印記@#@張瑞圖印@#@@#@作者印記@#@二水@#@@#@作者印記@#@文學侍從之臣@#@@#@收傳印記@#@秀松堂鑑藏印@#@@#@收傳印記@#@高陽李氏考藏@#@@#@收傳印記@#@符曾經眼
- 參考資料收藏著錄@#@故宮受贈文物選萃，頁64-65、156@#@@#@收藏著錄@#@李石曾先生贈書畫目錄，頁14-15、64-65@#@@#@內容簡介（中文）@#@張瑞圖（西元一五七0－一六四一年），福建晉江人。曾官至武英殿大學士。工書善畫，書法與邢侗、米萬鐘、董其昌齊名，被並稱為明末的四大書家。張氏運筆，喜用側鋒，轉折銳利，且筆勢多呈橫攲。字體的結組，經常排列成狹窄的縱行，行間空白很寬，頗富個人特色，對日本書壇的影響亦極深遠。本件為李石曾先生所遺贈，由於是長卷形式，手卷橫長的特性，益能展現出張氏活潑跳蕩的書風。@#@@#@內容簡介（中文）@#@張瑞圖（西元一五七○－一六四一年），福建晉江人。曾官至武英殿大學士。工書善畫，書法與邢侗、米萬鐘、董其昌並稱為明末的四大書家。張氏運筆，喜用側鋒，轉折銳利，且筆勢多呈橫攲。字體的結組，經常排列成狹窄的縱行，行間空白很寬，頗富個人特色，對日本書壇的影響亦極深遠。本卷為李石曾先生捐贈。(20120104)@#@@#@內容簡介（英文）@#@ Zhang Ruitu, a native of Jinjiang, Fujian, served up to the post of Academician in the Wuying Hall. Excelling at painting and calligraphy, his fame in the latter equaled that of Xing Tong, Mi Wanzhong, and Dong Qichang, leading him to be ranked as one of the Four Late Ming Masters of calligraphy. Zhang often held the brush at a slant so that the tip created sharp twists and turns. With the brush force mostly horizontally slanted, the characters often form narrow vertical rows with considerable spacing. The unusual personal features of his style also had a great influence on calligraphic circles in Japan. This work was donated to the National Palace Museum by Mr. Li Shih-tseng. (20120104)@#@@#@內容簡介（英文）@#@Chang Jui-t'u, a native of Chin-chiang in Fukien province, served to the post of Academician in the Wu-ying Hall. Excelling at painting and calligraphy, his fame in the latter equaled that of Hsing T'ung, Mi Wan-chung, and Tung Ch'i-ch'ang, leading him to be considered as one of the Four Masters of Calligraphy in the late Ming. In Chang's use of the brush, he often held it at a slant so that the tip created sharp brushwork with twists and turns. With the brush force mostly horizontally slanted, the characters often form narrow vertical rows with considerable spacing between them. The unusual personal features of his style also had a great influence on calligraphic circles in Japan. This work, donated to the National Palace Museum by Mr. Li Shih-tseng, is in the format of a long handscroll. The horizontal feature of this format made it easy for Chang to express his lively calligraphic manner.@#@@#@網頁展示說明@#@張瑞圖（西元一五七O－一六四一年），福建晉江人。曾官至武英殿大學士。工書善畫，書法與邢侗、米萬鐘、董其昌齊名，被並稱為明末的四大書家。張氏運筆，喜用側鋒，轉折銳利，且筆勢多呈橫攲。字體的結組，經常排列成狹窄的縱行，行間空白很寬，頗富個人特色，對日本書壇的影響亦極深遠。本件為李石曾先生捐贈，由於是長卷形式，手卷橫長的特性，益能展現出張氏活潑跳蕩的書風。(20120104)@#@@#@網頁展示說明@#@Zhang Ruitu, a native of Jinjiang, Fujian, served up to the post of Academician in the Wuying Hall. Excelling at painting and calligraphy, his fame in the latter equaled that of Xing Tong, Mi Wanzhong, and Dong Qichang, leading him to be ranked as one of the Four Late Ming Masters of calligraphy. Zhang Ruitu often held the brush at a slant so that the tip created sharp twists and turns to the strokes. With the brush force mostly horizontal and slanted, the characters often form narrow vertical rows with considerable spacing. The unusual personal features of his style also would have a great influence on calligraphic circles in Japan. This work was donated to the National Palace Museum by Mr. Li Shih-tseng. (20120104)@#@@#@網頁展示說明@#@張瑞図（1570-1641）、福建晉江の人。官は武英殿大学士に至った。書に優れ、絵畫も善くした。書法では、邢侗、米万鐘、董其昌とともに明代末期の四大書家に列せられる。張瑞図は側鋒を好んで用い、転折は銳利で筆勢はおおむね傾いている。文字の書き方を見ると、多くの場合、縱に隙間なく並べられ、行間はかなり広く、非常に個性的である。その書は日本書壇に極めて大きな影響を与えた。本作は長卷のため、横に長く広げる手卷の特徵が生かされ、張瑞図の躍動感ある溌剌とした書風がより一層高められている。季石曾氏寄贈。(20120104)
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