书体:

行楷书

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:

本幅纸前隔水绫后隔水绫拖尾纸

释文:

夜泛西湖。新月生魄迹未安。才破五六渐盘桓。今夜吐豔如半璧。游人得向三更看。三更向阑月渐垂。欲落未落景特奇。明朝人事谁料得。看到苍龙西起时。苍龙已起斗牛横。东方芒角昇长庚。渔人收筒及未晓。舡过惟有菰蒲声。菰蒲无边水茫茫。荷花夜开风露香。渐见灯明出远寺。更待月黑看湖光。湖光非鬼亦非仙。风恬浪静光满川。须臾两两入寺去。就视不见空茫然。湖上初晴后雨。朝曦迎客豔重冈。晚雨留人入醉乡。此意自佳君不会。一杯当属水仙王。湖上有水仙王庙。水光潋灩晴方。山色空蒙雨亦奇。若把西湖比西子。淡粧浓抹捴相宜。好。寒食未明至湖上太守未来两县令先在。城头月落尚啼乌。乌榜红舷早满湖。鼓吹未容迎五马。水云先已飏双凫。映山黄帽螭头舫。夹道青烟鹊尾炉。老病逢春只思睡。独求僧榻寄须臾。延祐七年秋。与明远游西湖诸名刹。见东坡数作。并录一过。子昂。

印记资料:

作者印记：松雪斋
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
收传印记：馀春堂
收传印记：军假司马
收传印记：西汉曲逆侯裔皇宋文正公孙
收传印记：黄从志印
收传印记：王时敏印
收传印记：烟客真赏
收传印记：烟客
收传印记：太原王氏珍藏
收传印记：王逊之书画记
收传印记：王颛菴书画记
收传印记：王掞之印
收传印记：颛菴真赏
收传印记：半隐楼书画记
收传印记：协一堂珍玩书画图书（重一）

题跋资料:

题跋类别：题跋；作者：沈度拖尾云间沈度跋。；书体：行书；全文：右赵文敏书坡仙西湖诗一卷。笔力遒劲。姿态横溢。正中年妙境之书。不可不宝。云间沈度跋。

题跋类别：题跋；作者：彭年拖尾沛彭年识于云卧阁；书体：楷书；全文：馀阅文敏书多矣。每谓其微伤习气。独此卷古致错落。深得二王遗法。想其录坡翁诗。尤为用意耳。昌谷持示。聊书数语于后。沛彭年识于云卧阁。印记：彭氏孔加、彭年

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页914 收藏着录： 故宫书画录（卷一），第一册，页79 内容简介（中文）： 赵孟頫（西元一二五四－一三二二年），字子昂，湖州（今浙江吴兴）人，宋皇室之后。十四岁任真州（江苏仪征）司户参军。元初征入大都，历任兵部郎中，集贤直学士，后来分别在济南、山西、浙江任官，五十七岁任翰林侍读，后升任翰林学士承旨，六十九岁卒于故里。他诗文书画俱精，倡导复古，对后代影响深刻。赵孟頫书法初学宋高宗，中年以后，小楷法锺繇，行草师二王、李邕，参以苏米，笔致秀逸。本卷书苏轼诗，沉稳中流露俊秀之气，是六十七岁晚年佳作。 内容简介（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. 网页展示说明 赵孟頫（西元一二五四？一三二二年）字子昂，吴兴人。为宋太祖子秦王赵德芳十世孙，因宋亡而归隐，但于至元二十三年（西元一二八六年）接受征召，出仕元朝。他书画俱精，倡导复古，对后世影响深刻。其书法初学宋高宗，中年以后，小楷法锺繇，行草主二王、李邕，参以苏、米笔法，笔致秀逸。本卷行书苏轼诗，沉稳中流露俊秀之气，是六十七岁（西元一三二Ο年）晚年佳作。(20100711) 网页展示说明 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) 网页展示说明 赵孟頫（1254-1322）、字は子昂、呉兴（现在の浙江省湖州市）の人。宋太祖の子である秦王赵徳芳の十代目の子孙にあたる。宋が灭亡したため隠栖したが、元23年（1286）に召し出され、元朝に仕えた。赵孟頫は书画ともに优れ、复古を提唱し、后の世に多大な影响を与えた。その书法は初め宋高宗を学び、中年以降に小楷は锺繇を、行草は主に二王と李邕を学び、苏轼と米芾の笔法を参考とした、秀逸な笔致である。本作は苏轼の诗文を行书で书いたもので、落ち着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)