书体:

行书

色彩:

装裱形式:

轴

创作时间:

文字类型:

汉文

质地:

本幅纸诗塘纸

释文:

轼将渡海。宿澄迈。承令子见访。知从者未归。又云。恐已到桂府。若果尔。庶几得于海康相遇。不尔。则未知后会之期也。区区无他祷。惟晚景宜倍万自爱耳。怱怱留此帋。令子处更不重封。不罪不罪。轼顿首。梦得祕校阁下。六月十三日。手启梦得祕校。轼封。

印记资料:

鑑藏宝玺：古希天子
鑑藏宝玺：五福五代堂宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：几暇鉴赏之玺
鑑藏宝玺：懋勤殿鉴定章
鑑藏宝玺：内府珍祕
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：黄琳美之
收传印记：琳印
收传印记：神品（重一）
收传印记：项元汴印（重一）
收传印记：项子京家珍藏
收传印记：子孙世昌
收传印记：项墨林鉴赏章
收传印记：项墨林父祕笈之印
收传印记：子孙永宝
收传印记：墨林秘玩
收传印记：天籁阁（半印。重一。）
收传印记：墨林（半印）
收传印记：子京所藏（半印）
收传印记：项叔子章（半印）
收传印记：父印（半印）
收传印记：墨林山人
收传印记：项墨林（半印）
收传印记：退密（半印）
收传印记：子京（半印）
收传印记：子京（葫芦印）
收传印记：子京之印
收传印记：若水轩
收传印记：张孝思（重一）
收传印记：张孝思赏鑑印
收传印记：张则之
收传印记：苍巖
收传印记：江上笪氏图书印
收传印记：笪重光印
收传印记：道名蟾光
收传印记：江上
收传印记：西江直指
收传印记：子敏
收传印记：章守印
收传印记：赵度（鼎形）
收传印记：赵度印章（重一）
收传印记：民仰

题跋资料:

题跋类别：题跋；作者：清高宗诗塘 ；书体：行书；全文：见真率印记：三希堂、干、隆

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷二），第一册，页1 参考书目： 1.何炎泉，〈苏轼书尺牍（北游帖）、尺牍（渡海帖）〉，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475- 478。2.何炎泉，〈宋苏轼致梦得祕校尺牍〉，《故宫文物月刊》，第300期（2008年3月），页6。3.佘城，〈从个人风格来探讨一件伪苏轼法书〉，《中华民国建国八十年中国艺术文物讨论会论文集　书画(下)》（台北：国立故宫博物院，1992），页627-660。4.〈致梦得祕校尺牍(渡海帖)〉，收入何传馨、陈阶晋、何炎泉编，《故宫法书新编（十）　宋　苏轼墨蹟(下)》（台北：国立故宫博物院，2011年九月初版一刷），页84-90。 内容简介（中文）： 苏轼（1037－1101），字子瞻，号东坡居士，眉州眉山（今四川）人。元符三年（1100）五月苏轼由海南诏徙廉州，路过澄迈时未遇其友赵梦得而留下此札，赵对落难海南的苏轼照顾颇多。相较早年姿媚的书风，此帖风格浑厚雄强，线条的质感也更为丰富。藏锋的浑圆起笔，配合劲利方折的用笔，加强了线条的厚度与力感。撇、捺、钩等较多侧锋的笔划，也都将力量贯穿至底，加强视觉上的强度。(20061206) 内容简介（中文）： 苏轼（西元1036至1101年），眉山人，字子瞻，自号东坡居士。嘉祐进士，累官至端明殿侍读学士。博通经史，工诗文，善书画。苏轼书，当时便负盛名。论书最服颜鲁公，盖亦其源流之所自也。惟大家取法，终不肯借他人躯壳，苏尝自评：「东坡平时作字，骨撑肉，肉没骨。」此六字最能自道面目 内容简介（中文）： 苏轼（西元一0三七-一一0一年），字子瞻，号东坡居士，四川眉山人。诗文书画俱成大家。书法兼得二王、颜真卿、李邕、杨凝式之长，综观其书，姿态横生，纵不失度，黄庭坚推誉为宋朝第一。 元符三年（一一0 0）苏轼诏徙廉州，途中写此尺牍予挚友赵梦得。此作又名「渡海帖」，是典型苏轼风格，苍劲有力，沉着痛快，为其晚年之代表作。上有项元汴千字文第八0一「具」字编号。 内容简介（英文）： Su Shi (style name Zizhan, sobriquet Dongpo jushi) was a native of Meishan, Sichuan. A master gifted at prose, poetry, painting, and calligraphy, in the latter he combined the virtues of the Two Wangs, Yan Zhenqing, Li Yong, and Yang Ningshi to broaden his manner and create a natural style not lacking in regulation, so much that Huang Tingjian called him “First in the Dynasty.” Su Shi was banished to Lianzhou in 1100 and along the way wrote this letter to his friend Zhao Mengde. Known as the “Crossing the Seas” letter, it is typical of Su’s style, mature and powerful while steady yet unrestrained -- representative of his later years. It bears the 801st character (ju 具) from the “Thousand Character Classic” as an accession number for Xiang Yuanbian’s collection. 内容简介（英文）： Su Shih, from Mei-shan, was known as Tzu-chan and Tung-p'o chü-shih. He passed the chin-shih examination in the Chia-yu era(1056-1064), and was a Reader-in-Attendance of the Han-lin Academy. Su's broad talents included both the classics and history; he excelled in poetry and essays, and was a master of painting and calligraphy. In discussing the theoretical aspects of calligraphy, Su took Yen Chen-ch'ing as his guide. He once criticized his own calligraphy saying that in his characters "the bones support the flesh, but the flesh obscures the bone." These few words are most descriptive of his works. 内容简介（英文）： Su Shih, style name Tzu-chan and sobriquet Tung-p'o chü-shih, was a native of Mei-shan (modern Szechwan) in Mei-chou. In the fifth lunar month of 1100, Su Shih was ordered in exile to move from Hai-nan Island to Lien-chou. While passing through Ch'eng-mai, he did not have a chance to see his friend Chao Meng-teh, so he left behind this letter. Chao had taken care of Su Shih, who had been banished to Hai-nan. Compared with the “charming” style of calligraphy from his earlier years, Su's style of calligraphy in this letter is strong and honest, the quality of the lines also richer. The concealed tip of the rounded first strokes of the brush is complemented by strong and sharply angular brushwork, accentuating the thickness and strength of the lines. The hooked and falling left and right diagonal strokes were done with a more slanted brush tip, all making for a sense of power that penetrates completely and thereby enhances the force in visual terms.(20061206)