书体:

行书

色彩:

装裱形式:

轴

创作时间:

明宣宗宣德六年（1431）

文字类型:

汉文

质地:

本幅纸

释文:

御制上林冬暖诗。蓬岛雪融琼液。瑶池水泛冰澌。晓日初临东阁。梅花开遍南枝。宣德六年（西元一四三一年）十月廿七日。赐郎中程南云。

印记资料:

作者印记：钦文之玺
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：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1093 收藏着录： 故宫书画录（卷二），第一册，页8-9 参考书目： 1.吴诵芬，〈宣德宸翰－允文允武的艺术天子明宣宗书画作品〉，《故宫文物月刊》，第349期（2012年4月），页50-59。 内容简介（中文）： 宣宗（西元一三九九－一四三五年，一四二六－三五在位）名瞻基。他对于绘画的爱好与成就，一般认为仅次于三百年前的宋徽宗。他的书法早期偏于精秀，后来逐渐改用中锋圆笔，增加厚重稳健的笔意。此幅是宣德六年（一四三一）赐给郎中程南云的作品，结字近于赵孟頫，反映出明初以来的风尚。从一些运笔快速，起笔与收笔不加修饰的笔触中，显露出作为皇帝的英武刚健的气慨。 内容简介（英文）： The Hsuan-tsung Emperor (r. 1425-1435), considering his achievements in painting and calligraphy, is ranked only second to the greater artist-emperor Hui-tsung (r. 1101-1125). Hsuan-tsung's early calligraphy was influenced by those of the early Ming court calligraphers Shen Tu and Shen Ts'an. His refined style gradually gave way to rounded, centered brushwork with an element of heaviness. This work was done in 1431 and given to the official Ch'eng Nan-yun. The style, similar to that of Chao Meng-fu (1254-1322), reflects that of the early Ming. The speed of some brushstrokes resulted in no adornment to the lifting and application of the brush, thus reflecting the emperor's straightforward imperial character. 网页展示说明 明宣宗的书法成就往往为画名所掩，后人评其「书出沈华亭兄弟，而能于圆熟之外，以遒劲发之。」本幅为宣德六年（一四三一）赐给郎中程南云的作品，结字近于赵孟頫（一二五四－一三二二），反映出明初以来的风尚，但运笔较为快速，起笔收笔不加修饰。程南云，永乐年间(一四０三－一四二四)以能书授中书舍人。善书画，尤精篆隶。在《宣宗御制诗集》中也收有宣德七年赐程南云的〈草书歌〉。(20120407) 网页展示说明 Emperor Xuanzong's accomplishments in calligraphy are frequently overshadowed by his renown in painting, with later critics stating that it is "from that of the Shen Brothers (Du and Can) of Huating. Not only was he capable at mellow brushwork, he also gave it vigor." This work, done in the sixth year of his reign (1431), was presented to Director Cheng Nanyun. The character forms are similar to those of the famous Yuan dynasty calligrapher Zhao Mengfu (1254-1322), reflecting trends found in calligraphy since the early Ming dynasty. Here, however, the application of the brush was quicker, the places where the brush was applied and lifted appearing unornamented. Cheng Nanyun was a Secretariat Drafter gifted at calligraphy in the Yongle reign (1403-1424). Excelling at painting and calligraphy, he was especially talented in seal and clerical script. Anthology of Poetry by Emperor Xuanzong also includes a poem entitled "Song on Cursive Script" done for Cheng Nanyun in 1432.(20120407) 网页展示说明 宣徳帝の书法の见事さは画名に隠されてしまうことが多い。后人はその书を「宣徳帝の书法は沈粲、沈度兄弟の円熟した书风を継承しているが、より雄劲である。」と评している。本作は宣徳6年（1431）に郎中程南云に下赐された作品である。结字は赵孟頫（1254－1322）に近く、明代初期以来の风潮が反映されているが、运笔はやや素早く、起笔と収笔にはなんら饰るところがない。程南云、永楽年间（1403－1424）に书法に优れていたことから中书舎人に任ぜられた。书画を善くし、特に篆书と隷书を得意とした。『宣宗御制诗集』にも宣徳7年に程南云が赐った「草书歌」が収录されている。釈文：御制上林冬暖诗。蓬岛雪融琼液。瑶池水泛冰澌。暁日初临东阁。梅花开遍南枝。宣徳六年十月二十七日。赐郎中程南云。(20120407)