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【參考資料】 |
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收藏著錄 |
石渠寶笈初編（御書房），下冊，頁914
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收藏著錄 |
故宮書畫錄（卷一），第一冊，頁79
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內容簡介（中文） |
趙孟頫（西元一二五四－一三二二年），字子昂，湖州（今浙江吳興）人，宋皇室之後。十四歲任真州（江蘇儀徵）司戶參軍。元初徵入大都，歷任兵部郎中，集賢直學士，後來分別在濟南、山西、浙江任官，五十七歲任翰林侍讀，後升任翰林學士承旨，六十九歲卒於故里。他詩文書畫俱精，倡導復古，對後代影響深刻。
趙孟頫書法初學宋高宗，中年以後，小楷法鍾繇，行草師二王、李邕，參以蘇米，筆致秀逸。本卷書蘇軾詩，沉穩中流露俊秀之氣，是六十七歲晚年佳作。
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內容簡介（英文） |
Chao Meng-fu (style name Tzu-ang) was a native of Hu-chou (Wu-hsing, Chekiang). A scion of the Sung imperial family, he served in Chen-chou (I-chen, Kiangsu) at the age of 13. At the beginning of the Yuan, he was invited to the capital, where he served as Gentleman of the Interior and as an Academician. He later served in Chi-nan, Shansi, and Chekiang. At 56, he was Reader-in-Attendance at the Han-lin Academy and later promoted to Recipient of Edicts there. He passed away at 68 in his hometown. Chao excelled at poetry, belles-lettres, calligraphy, and painting. An advocate of revivalism, he had a major impact on later artists. Chao Meng-fu's early calligraphy followed that of Sung Kao-tsung (1101-1187). Later, his small regular script followed that of Chung Yu (151-230) and his running and cursive script after those of the Two Wangs (Wang Hsi-chih [309-365] and Wang Hsien-chih) and Li Yung (678-747). They were combined with those of Su Shih (1036-1101) and Mi Fu (1051-1107) for an elegant style. This scroll transcribes Su Shih's poem and was done when Chao was 66. The introverted features here reveal the handsome elegance of Chao's style.
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網頁展示說明 |
趙孟頫（西元一二五四？一三二二年）字子昂，吳興人。為宋太祖子秦王趙德芳十世孫，因宋亡而歸隱，但於至元二十三年（西元一二八六年）接受徵召，出仕元朝。他書畫俱精，倡導復古，對後世影響深刻。其書法初學宋高宗，中年以後，小楷法鍾繇，行草主二王、李邕，參以蘇、米筆法，筆致秀逸。本卷行書蘇軾詩，沉穩中流露俊秀之氣，是六十七歲（西元一三二Ο年）晚年佳作。(20100711)
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網頁展示說明 |
Zhao Mengfu (style name Zi'ang) was a native of Wuxing. A tenth-generation descendant of Emperor Taizu's son, Zhao Defang, he went into reclusion at the fall of the Song dynasty. In 1286, though, he answered the following Yuan court's call and became an official. Excellent at painting and calligraphy, he advocated revivalism and had a major influence on later generations.
In calligraphy, Zhao Mengfu first studied the style of Song Gaozong, but after his middle years followed the small regular script of Zhong You and the semi-cursive one of the Two Wangs and Li Yong with Su Shi's and Mi Fu's brushwork, creating a beautiful, untrammeled manner. The running script here transcribes Su Shi's poetry, an aura of delicate beauty in the steady and mature brushwork making this a late masterpiece of 1320.(20100711)
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網頁展示說明 |
趙孟頫（1254-1322）、字は子昂、吳興（現在の浙江省湖州市）の人。宋太祖の子である秦王趙德芳の十代目の子孫にあたる。宋が滅亡したため隱棲したが、元23年（1286）に召し出され、元朝に仕えた。趙孟頫は書畫ともに優れ、復古を提唱し、後の世に多大な影響を与えた。その書法は初め宋高宗を学び、中年以降に小楷は鍾繇を、行草は主に二王と李邕を学び、蘇軾と米芾の筆法を參考とした、秀逸な筆致である。本作は蘇軾の詩文を行書で書いたもので、落ち著いた中に秀でた美しさがある。67歳（1320）─晩年の佳作である。(20100711)
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