书体:

行书

色彩:

装裱形式:

卷

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

水龙吟杨中弘。鸿沟定约东归。又谁遣赤龙廻指。青娥舞罢。重瞳饮泣。断肠声里。半壁酸风。（风字旁注）。两涯寒月。古今兴废。眇乌江满眼惊涛卷雪。分明总是英雄泪。木末招招舟子。载何人断烟流水。平沙尽处。青山数点。江东千里。长啸风前。无人会我登临此意。但黄芦古木。夕阳四照。有渔歌起。

印记资料:

收传印记：漫堂珍赏
收传印记：卞氏令之
收传印记：牧仲
收传印记：商邱宋荦鉴藏

题跋资料:

题跋类别：作者款识；作者：杨载；题跋位置：本幅；款识：杨中弘行书

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第六册，页2698 收藏着录： 故宫书画录（卷一），第一册，页148-152 内容简介（中文）： 杨载（西元一二七一－一三二三年），福建浦城人。后徙杭州。少孤，博涉群书，为文有跌宕气。年四十，不仕。延祐（一三一四－一三二0年）初，登进士第，授承务郎。时赵孟頫在翰林，得载所为文，极推重之，由是文名动京师。杨载书学赵孟頫，得其雅健，然姿媚雍容则不及。本幅水龙吟，用笔劲利，偶以侧锋取势，结体略长，然仍见赵字影响。 内容简介（中文）： 杨载（西元一二七一－一三二三年）字仲弘，福建浦城人。后徙杭州。少年时博涉群书，为文有跌宕气，以布衣召为国史院编修官，延祐二年（一三一五年）得中进士，官至宁国路总管府推官。以诗文着称，有杨仲弘集。时赵孟頫在翰林，得杨载文，极推重之。杨载书学赵孟頫，得其雅健。本幅自书词一首，用笔劲利，偶以侧锋取势，结体略长，劲健中仍见赵字雍容秀雅之貌。(20121017) 内容简介（英文）： Yang Zai (style name Zhonghong), native to Pu-cheng, Fujian, later moved to Hangzhou. Widely learned as a youth, his writing was unrestrained. Called as a commoner to serve as Junior Compiler at the Historiography Academy, he became a Presented Scholar in 1315 and served as a Judge at Ningguo Route Command. He was famed for his writing, which was collected in Anthology of Yang Zhonghong. Zhao Mengfu was in the Hanlin Academy then and read Yang’s prose, highly praising it. Yang likewise studied Zhao’s calligraphy, achieving his elegant vigor. This work is a self-transcription of verse. The brushwork is strong and sharp, sometimes with a forceful slanted tip. Characters are slightly elongated, the vigor still reflecting Zhao’s elegant grace. (20121017) 内容简介（英文）： Yang Tsai was a native of P'u-ch'eng, Fukien, but he later moved to Hangchow. He lost his parents in his youth. His scholarship is erudite and his writing is unrestrained. At the age of thirty-nine he had still not entered government service. In the early Yen-yu era (1314-1320) he passed the chin-shih civel service examination and was appointed Gentleman for Rendering Service. At that time, the artist Chao Meng-fu (1254-1322) was at the Hanlin Academy and read Yang's writing. Chao subsequently spoke highly of him, and Yang thus attained literary fame in the capital. Yang studied the calligraphy of Chao Meng-fu and captured Chao's refinement and vigor, but did not attain an equal grace. The brushwork of this work is vigorous and sharp, with evidence of an occasional use of a slanted-tip brush to capture a greater force, and the characters are slightly long, though the influence of Chao's calligraphy is still visible in this work.