【作品基本信息】
| 作者 | 赵构 |
| 品名 | 宋高宗书七言律诗（暮春三月诗帖）-宋元宝翰册 |
| 朝代 | 南宋 |
| 文件大小 | 17.99MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2831×2119 |
| 尺寸（CM） | 23.96×17.94 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 书法 |
| 品名 | 宋元宝翰 册 宋高宗书七言律诗 Poem in Seven-character Verse |
| 分类 | 法书 |
| 作者 | 赵构 |
| 书体 | 行楷书 |
| 数量 | 一幅 |
| 作品语文 | 汉文 |
| 释文 | 暮春三月巫峡长。皛皛行云浮日光。雷声忽送千峰雨。花气浑如百和香。黄莺过水翻回去。燕子㘅泥湿不妨。飞阁卷帘图画里。虚无只少对潇湘。赐亿年。 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 27.1×48.7 |
| 边幅 | 27.2×8.7 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
| 边幅 | 绫 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 题跋 | 董其昌 | 边幅 | 甲辰六月观于西湖画舫。董其昌题。 | 行楷书 | 思陵书杜少陵诗。赵吴兴补图。乃称二绝。赵画学王摩诘。笔法秀古。使在宋时应诏。当压驹骕辈。为宗室白眉矣。甲辰六月观于西湖画舫。董其昌题。 |
印记资料
| 【印记类别】 | 【印记】 |
| 作者印记 | 御书之宝 |
| 作者印记 | 御书（半印） |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 重华宫鉴藏宝 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 宣统鉴赏 |
| 鉴藏宝玺 | 无逸斋精鉴玺 |
| 鉴藏宝玺 | 乐善堂图书记 |
| 收传印记 | 神（重一） |
| 收传印记 | 品（重一） |
| 收传印记 | 天籁阁 |
| 收传印记 | 桃里 |
| 收传印记 | 项元汴印 |
| 收传印记 | 子京珍秘 |
| 收传印记 | 项墨林鉴赏章 |
| 收传印记 | 若水轩 |
| 收传印记 | 虚朗斋 |
| 收传印记 | 项墨林父秘籍之印（重一） |
| 收传印记 | 项子京家珍藏 |
| 收传印记 | 宫保世家（重一） |
| 收传印记 | 退密（半印） |
| 收传印记 | 檇李项氏士家宝玩（半印） |
| 收传印记 | 吴廷私印 |
| 收传印记 | 长安 |
| 收传印记 | 桃花源里人家（半印） |
| 收传印记 | 博雅堂宝玩印（半印） |
| 收传印记 | 子京父印（半印） |
| 收传印记 | 煮茶亭长（半印） |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 故宫书画录（卷三），第一册，页221 |
| 收藏着录 | 石渠宝笈初编（重华宫），下册，页710 |
| 参考书目 | 1.郑瑶赐，〈高宗七言律诗〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页245-246。 2.郑瑶赐，〈「七十件书画册页名品特展」精选(四) — 高宗七言律诗〉，《故宫文物月刊》，第149期（1995年8月），页94-96。 3.何传馨，〈书七言律诗〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页340-341。 |
| 内容简介（中文） | 赵构(1107-1187)即宋高宗，书法家。宋徽宗赵佶之子。工正、行、草书，少即喜揽笔作字。笔法端雅醇厚、涵泳隽秀，盖以得力于智永为多，又尝深究本朝黄庭坚书，亦颇能得其神髓。自谓：「自魏晋以来，至六朝笔法，无不临摹，众体备于笔下，意简犹存取舍。至若契帖，侧之益深，拟之益严，以至成诵。」明代陶宗义《书史会要》称：「高宗善真、行、草书，天纵其能，无不造妙。」着有《翰墨志》一卷，传世墨迹有《草书洛神赋》、《正草千字文》《光明塔碑》等。传本《顾恺之女史箴图题字》、《褚遂良倪宽赞》等亦有指为构所书者。 |
| 内容简介（中文） | 宋高宗（公元1107-1187），涿郡人，名构，字德基，徽钦二宗为金人所掳，即位建康，是为南宋。高宗学养丰富，秉赋高超，对书法造诣亦佳，着有＜翰墨志＞。此幅书杜甫七言律诗，选自「宋元宝翰」册第一幅。高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意着墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。 |
| 内容简介（英文） | Emperor Kao-tsung(original name Chao Kou; style name Te-chi) was a native of Cho-chun. When the emperor Ch’in-tsung(r. 1126) and the retired emperor Hui-tsung (r.1101-1125) were captured by invading Chin troops, Kao-tsung ascended the throne in Chien-k’ang, establishing the Southern Sung in 1127. His breadth of learning was extensive and his prose unparalleled. Kao-tsung was also very gifted and educated in calligraphy, as revealed in his book Treatise on Calligraphy (Han-mo chih). This piece of calligraphy, the first leaf from Sung Yuan pao-han, is a poem by Tu Fu (712-770) in seven-character verse. In his early years, Kao-tsung studied the style of Huang T’ing-chien(1045-1105), later following those of Wang Hsi-chih(ca.307-365) and Wang Hsien-chih(344-386). The characters of this work are evenly spaced and sized, the composition of the characters round and lively, and the line separate and distinct, making this a typical example of Kao-tsung’s calligraphy. Originally, the work had a painting by Chao Meng-fu attached afterwards; unfortunately, it was removed by a later collector. Sung calligraphers tended to express the ideas and write from the heart, representing a major shift from the upright style of Chin (265-419) and T’ang(618-907) calligraphy. Emperor Kao-tsung sought to revive these older traditions. |
| 内容简介（中文） | 宋高宗（公元一一０七－一一八七年），赵构，南宋初代皇帝，以学养丰富，精鉴赏而称世。书法始学黄庭坚，中叶改学米芾，后以临摹二王追慕晋唐法书，造诣卓越，传世作品可知其书风之变。 此幅书杜甫七言律诗，选自「宋元翰墨」册第一幅。全篇字体均匀，结体圆活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。 |
| 内容简介（英文） | Kao-tsung was the first Southern Sung emperor and known for erudition and connoisseurship. In calligraphy, he began studying the style of Huang T’ing-chien, but later turned to that of Mi Fu, and finally to that of the Two Wangs—returning to the essence of the Chin and T’ang. Writing many decrees, his stylistic changes are clearly seen. This work transcribes a 7-character regulated verse composed by the T’ang poet Tu Fu. It is the 1st leaf from Works by Sung and Yuan Calligraphers. Kao-tsung’s study of the styles of Huang and the Two Wangs make for a balanced and rounded structure. The arrangement is open, typical for his style. This work once included a painting by Chao Meng-fu that was cut off at a later date. |
| 内容简介（中文） | 本幅宋高宗（1107-1187）以行楷体书唐杜甫〈即事〉七言律诗，后草书署「赐亿年」。从后边幅明董其昌题跋，可知原有元赵孟俯补图，可惜今已佚失。此幅书法风格与〈赐岳飞手敕〉接近，大约书于同时。将两者逐字比较风格特征后，可看出用笔与结字的特色。大致起笔、收笔或转折，都保持中锋圆笔，折肩多圆转，勾挑与逆笔则稍劲锐，运笔不疾不徐，结体匀整端庄，显现出比〈赐岳飞手敕〉较为优雅闲适的心情。(20101015) |
| 内容简介（英文） | In this work, Emperor Gaozong transcribed in semi-regular script a seven-character regulated verse by the Tang poet Du Fu entitled “Impromptu Verse.” His signature at the end (to the left), however, is written in cursive script and reads, “Presented to Yinian.” Judging from the colophon by Dong Qichang of the Ming dynasty that appears after this work, it originally was accompanied by a now-lost painting by the Yuan artist Zhao Mengfu. The calligraphic style here is similar to that in Gaozong’s “Imperial Order Presented to Yue Fei” and was probably done around the same time (1137). A character-by-character comparison of the stylistic features in these two pieces reveals similar characteristics of the brushwork and character forms. Generally speaking, the pressing, lifting, and turning of the brush were all done with centered strokes and rounded brushwork. The turning strokes are often round and the hooked and reverse ones slightly sharper, making the brush movement neither too fast nor too slow. Character forms are balanced and upright, revealing more elegant ease than seen in “Imperial Order Presented to Yue Fei.”(20101015) |
| 参考书目 | 〈宋元宝翰 册 宋高宗书七言律诗〉，收入李玉珉、何炎泉、邱士华主编《妙合神离-董其昌书画特展》（台北：国立故宫博物院，2016.01），页60-63、380。 |
| 参考书目 | 何传馨，〈宋元宝翰 册 宋高宗书七言律诗〉，收入《文艺绍兴-南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010.10），页90-91、340-341。 |
| 参考书目 | 许文美，〈宋元宝翰 册 宋高宗书七言律诗〉，收入许文美主编《无声诗-南宋的小品绘画》（台北：国立故宫博物院，2021.12），页16-19、166。 |
【作品展示】
