书体:

楷书

色彩:

装裱形式:

卷

创作时间:

文字类型:

汉文

质地:

本幅绢隔水一绫隔水二绫拖尾纸

释文:

秾芳依翠萼。焕烂一庭中。零露霑如醉。残霞照似融。丹青难下笔。造化独留功。舞蝶迷香径。翩翩逐晚风。宣和殿制。

印记资料:

作者印记：御书
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：寿
收传印记：阿尔喜普之印
收传印记：东平
收传印记：九如清玩
收传印记：也园珍赏
收传印记：御赐忠孝堂长白山索氏珍藏
收传印记：乐葊
收传印记：乐圣且衔杯
收传印记：丹诚
收传印记：真赏
收传印记：珍祕
收传印记：宜尔子孙
收传印记：耿会侯鑑定书画之章
收传印记：湛思记
收传印记：云龙（重一。均存半。一存云。一存龙。）
收传印记：（一半印不辨）

题跋资料:

题跋类别：题跋；作者：陈邦彦拖尾陈邦彦敬观；书体：行书；全文：宣和书画。超轶千古。此卷以画法作书。脱去笔墨畦迳。行间如幽兰丛竹。泠泠作风雨声。真神品也。陈邦彦敬观。印记：彦、世南

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷一），第一册，页68 收藏着录： 国宝的形成-书画菁华特展，页82-87，306 参考书目： 1.王耀庭，〈宋徽宗诗帖〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页38-39。2.何炎泉，〈宋徽宗诗帖、书牡丹诗帖〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页421- 425。3.〈宋徽宗诗帖〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页180。4.王耀庭，〈宋徽宗诗帖〉，《故宫文物月刊》，第200期（1999年11月），页62-63。5.陈韵如，〈宋徽宗诗帖〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页220-221。 内容简介（中文）： 宋徽宗（1082－1135），姓赵名佶，神宗十一子，哲宗弟。他生性喜好艺术，禀赋极高，书画无不精工。书法达到很高的造诣，所创「瘦金体」，用笔坚挺犀利，虽流美而不纤弱，婀娜中带刚劲，外观秀丽精致深具富贵气息，在书史上别具一格。此作有朱栏界格，字大近五寸，是传世徽宗书蹟中最大的，行笔更为挺拔刚强，展现出异于小字的不同气势。(20061206) 内容简介（中文）： 宋徽宗（西元一○八二－一一三五年），神宗第十一子，姓赵名佶。好书画，山水、人物、花鸟、墨竹无不精工极妍，刻划入微。行草正书笔势劲逸，近法黄庭坚，远宗薛稷，峻挺瘦劲，号为「瘦金体」。本幅大字五言诗，健拔有神，以画法作书，行间如幽兰丛竹，泠泠作风雨声。 内容简介（中文）： 宋徽宗（1082－1135），姓赵名佶，好书画，山水、人物、花鸟无一不工。行草正书笔势劲逸，近法黄庭坚，远宗薛稷，俊挺瘦劲，别成一体，号为「瘦金体」。本卷书五言律诗一首，字大近五寸，为宋徽宗存世书蹟中字最大者，细毫细笔笔画爽利劲健的，竖笔与横笔都讲究收笔动作，撇笔如刃锐，捺笔似钢折，挑钩之间既表现速度也讲究姿态。(20110913) 内容简介（英文）： Emperor Huizong (personal name Zhao Ji) was good at calligraphy and painting, being masterful in all the subjects of landscapes, figures, and birds-and-flowers. In calligraphy, the brush force in his running, cursive, and regular scripts is strong yet spirited, approaching the method of Huang Tingjian. Reaching back to the style of Xue Ji, Huizong developed a bony yet strong manner of his own that became known as “slender gold script.”This work consists of a five-character regulated verse, the characters being exceptionally large at almost five Chinese inches tall and the largest of any surviving example of Huizong’s calligraphy. The brushwork is even more upstanding than in small-character calligraphy. “Slender gold script” was a calligraphic style created by Huizong that especially emphasized sharp and strong strokes, the movement of retracting the brush for vertical and horizontal strokes revealing particular attention. The left-falling diagonal strokes are also as sharp as a knife, and the right-falling ones as strong as bent steel, the flicked hooks expressing speed that emphasizes gesture.(20110913) 内容简介（英文）： Emperor Hui-tsung (family name Chao and personal name Chi) was the 11th son of Emperor Shen-tsung. A dominant figure in court art and aesthetics, he himself was skilled at calligraphy and painting, mastering the genres of landscapes, figures, birds-and-flowers, and ink bamboo.Historians of calligraphy have described Hui-tsung’s semi-cursive, cursive, and standard scripts as being forceful yet elegant. He modeled his style on that of his contemporary, Huang T’ing-chien (1045-1105), and, farther back in time, on that of Hsüeh Chi (649-713). Hui-tsung transformed these idioms into his own style, known as “slender gold,” which expresses a genius that the pursuit of mere form and appearance cannot capture. 内容简介（英文）： Emperor Hui-tsung, personal name Chao Chi, was the eleventh son of Emperor Shen-tsung. With a deep appreciation for the arts, his achievements in this respect were unmatched and his painting and calligraphy exceptionally refined. In calligraphy, he reached considerable heights, creating the so-called “slender gold script”, in which the brushwork is strong and sharp. Beautifully flowing but not weak, it has a delicate beauty that is also as tough as steel. The appearance of refinement also has a great sense of nobility, being in a class of its own in the history of calligraphy. This work, done in a grid of red lines, includes characters that are unusually large. In fact, these are the largest characters found among surviving examples of Hui-tsung's calligraphy. The brushwork is even more upright and stronger than in other works, reflecting a force differing from that of smaller characters.(20061206) 网页展示说明 宋徽宗（1082－1135），姓赵名佶，宋代第八位皇帝，生活奢华，致使成为亡国之君，然性好书画，且禀赋极高，书画无不精工，并善体物情，花鸟画描绘，刻划入微，尤为擅长。主导北宋晚期画院，影响中国绘画至钜。宋徽宗书法，自号「瘦金书」。这种书风源自唐代薛稷（649－713）、薛曜（活动于684－704），再上则是同出自褚遂良（596－713）。瘦金体书，特征是笔画细瘦，在转折处，将藏锋、露锋、运转、提顿等痕迹强化并保留下来，那就成为瘦金书的基本笔画架构。如写一横，起笔处是尖，先斜下，而后横行，收笔留有一顿点，即是特点之一。结体虽楷，而整体运笔，大都直来直往，飘忽快捷，似行如草。本幅朱丝栏界格，字大近５寸，为传世所见徽宗书法字迹最大者，行笔于瘦金体中属刚劲一格。释文：秾芳依翠萼，焕烂一庭中。零露霑如醉，残霞照似融。丹青难下笔，造化独留功。舞蝶迷香径，翩翩逐晚风。(20110913)