书体:

行书

色彩:

装裱形式:

卷

创作时间:

元仁宗延祐七年（1320）

文字类型:

汉文

质地:

本幅纸

释文:

相州昼锦堂记。仕宦而至将相。富贵而归故乡。此人情之所荣。今昔之所同。困阨闾里。庸人孺子。皆得易而侮之。若季子不礼于其嫂。买臣见弃于其妻。一旦高车驷马。旗旄导前。骑卒拥后。夹道之人。相与骈肩累迹。瞻望咨嗟。而所谓庸夫愚妇者。奔走骇汗。以自悔罪于车尘马足之间。此一介之士。得志当时。而意气之盛。昔人比之衣锦之荣者也。惟大丞相魏国公则不然。公。相人也。世有令德。为时名卿。自公少时。已擢高科。登显仕。海内之士。闻下风而仰馀光者。盖以有年矣。所谓将相而富贵。皆公所宜素有。非如穷阨之侥幸得志于一时。出于庸夫愚妇之不意。以惊骇而夸耀之也。然则高牙大纛。不足为公荣。桓圭衮裳。不足为公贵。惟德被生。功施社稷。勒之金石。播之声诗。以耀后世而垂无穷。此公之志。而士亦以此望于公也。岂止夸一时荣一乡哉。公在至和中。尝以武康之节。来治于相。乃作昼锦之堂于后圃。既又刻诗于石。以遗相人。其言以快恩雠。矜名誉为可薄。盖不以昔人所夸者为荣。而以为戒。于此见公之视富贵为何如。而其志岂易量哉。故能出入将相。勤劳王家。而夷险一节。至于临大事。决大议。垂绅正笏。不动声色。而措天下于太山之安。所谓社稷之臣也。其丰功盛烈。所以铭彝鼎而被絃歌者。乃邦家之光。非闾里之荣也。馀虽不获登公之堂。幸尝窃诵公之诗。乐公之志有成。而喜为天下道也。于是乎书。欧阳永叔此记。直记其事。盖一笔挥就。善于形容者耳。延祐黍年（西元一三二０年）八月三日。快雨时晴。天气晶明。书于松雪斋。子昂。

印记资料:

作者印记：赵氏子昂
作者印记：赵
作者印记：大雅
作者印记：鸥（重一）
作者印记：波（重一）
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：乾隆御赏之宝
鑑藏宝玺：养心殿鑑赏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：军假司马
收传印记：合（重一）
收传印记：同（重一）

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈（初编），上册，页533 收藏着录： 故宫书画录（卷一），第一册，页78-79 内容简介（中文）： 赵孟頫（西元一二五四－一三二二年），湖州（今浙江吴兴）人。字子昂，自号松雪道人，也称鸥波，宋太祖十一世孙，秦王德芳之后。仕元，至翰林学士承旨，封魏国公，諡文敏。才气横溢，读书过目成诵，诗文清远。工书善画，亦善刻印。书法倡复古，影响后世甚大。其书凡三变，初临宋高宗，中学锺繇及二王，晚学李北海。 本幅书欧阳修相州昼锦堂记，结体谨饬内敛，笔墨遒劲秀发，通体气势畅旺，深受李北海影响。是其逝世前两年，六十七岁之作。 内容简介（英文）： Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsueh tao-jen; also known as Ou-p’o) was a native of Wu-hsing, Chekiang. Although he was a descendent of the Sung royal family, he served the Yuan government as an Academician in the Hanlin Academy. He was an able calligarpher and excelled at painting and seal carving. In calligraphy he advocated returning to ancient styles, and he deeply influenced later generations. There are three distinct changes in Chao’s calligraphy. In his early years he imitated the style of the Sung emperor Kao-tsung (r. 1127-1162); in his middle years he studied the styles of Chung Yu (151-230), Wang Hsi-chih (307-365), and Wang Hsien-chih (344-388); and in his late years he studied the style of Li Yung (678-747). The title of this work is the Record of Ou-yang Hsiu’s Chou-chin Studio in Hsiang-chou. With strictly structured characters held together within themselves and forceful and handsome brushwork, the calligraphy of the work is luxuriant and demonstrates the profound influence of Li Yung. This work was composed two years before Chao’s death when he was sixty-six. 网页展示说明 赵孟頫（西元一二五四－一三二二年），湖州（今浙江吴兴）人。字子昂，自号松雪道人，也称鸥波，宋太祖十一世孙。仕元，至翰林学士承旨，封魏国公，諡文敏。工书善画，亦善刻印。书法倡复古，影响后世甚大。其书凡三变，初临宋高宗，中学锺繇及二王，晚学李北海。本幅书欧阳修〈相州昼锦堂记〉，结体谨饬内敛，笔墨遒劲秀发，通体气势畅旺，深受李北海影响。是其逝世前两年，六十七岁之作。(20110710) 网页展示说明 Zhao Mengfu (style name Zi'ang; self-styled sobriquet Songxue daoren), a native of Huzhou (modern Wuxing in Zhejiang), descended from the Song imperial clan but also served the Yuan court as a Hanlin Academician. He was also known as Oubo and was the eleventh-generation descendant of Emperor Taizu. Widely studied, his poetry is pure; Zhao also excelled at painting, calligraphy, and seal carving. In calligraphy, he advocated revivalism, greatly influencing later generations. His calligraphy underwent 3 phases: imitating the style of Song Gaozong in early years; studying those of Zhong You, Wang Xizhi, and Wang Xianzhi in middle years; and following that of Li Yong in later years. This work, done two years before Zhao's death at the Chinese age of 67, is Record of Ouyang Xiu's Zhoujin Studio in Xiangzhou. With structured, tight-knit characters in handsome brushwork, the rich style shows the influence of Li Yong.(20110710) 网页展示说明 赵孟頫（1254-1322）、湖州（现在の浙江省湖州呉兴区）の人。字は子昂、号は松雪道人、鸥波とも称された。宋太祖の11代目の子孙。元に仕えて翰林学士となり、魏国公に封ぜられた。諡号は文敏。书に优れ画も善くし、刻印にも秀でていた。书法では复古を提唱し、后世に绝大な影响を与えた。その书は三変した。初めは宋高宗を临模し、中年期には锺繇と二王を学び、晩年は李邕を学んだ。本作は欧阳修「相州昼锦堂记」を书いたもので、结体は谨厳で含みがあり、笔墨は力强く才気に溢れ、全体に気势旺盛で李邕の影响を强く受けている。逝去の2年前、67歳の作。(20110710)