书体:

草书

色彩:

装裱形式:

册(蝴蝶装‧方幅式)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

十一月日。金紫光禄大夫检校刑部尚书上柱国鲁郡开国公颜真卿。谨奉书于右仆射。定襄郡王。郭公合下。盖太上有立德。其次有立功。是之谓不朽。抑又闻之。端揆者百寮之师长。诸侯王者人臣之极地。今仆射挺不朽之功业。当人臣之极地。岂不以才为世出。功冠一时。挫思明跋扈之师。抗回纥无厌之请。故得身画凌烟之合。名藏太室之廷。吁足畏也。然美则美矣。终之始难。故曰。满而不溢。所以长守富也。高而不危。所以长守贵也。可不儆惧乎。书曰。尔唯弗矜。天下莫与汝争功。尔惟不伐。天下莫与汝争能。以齐桓公之盛业。片言勤王。则九合诸侯。一匡天下。葵丘之会。微有振矜。而叛者九国。故曰。行百里者。半九十里。言晚节末路之难也。从古至今。我高祖太宗已来。未有行此而不理。废此而不乱者也。前者菩提寺行香。仆射指麾。宰相与两省台省已下一行坐。鱼开府及仆射率诸军将。为一行坐。一时从权。犹未可。何况积习。更行之乎。一昨以郭令公。父子之军。破犬羊凶逆之众。众情欣喜。恨不顶而戴之。是用有兴道之会。仆射又不悟前失。径率意而指麾。不顾班秩之高下。不论文武之左右。苟以取悦于军容为心。曾不顾百寮之侧目。亦何异清昼攫金之士哉。甚非谓也。君子爱人以礼。不以姑息。仆射得不深念之乎。真卿窃闻。军容之为人。清修梵行。深入佛海。加以利衰涂割。恬然于心。固不以一毁加怒。一敬加喜。况乎东京有弥贼之绩。守陕有戴天之功。朝野之人。所共贵仰。岂独半席之座。咫尺之地。汨其志哉。且乡里上齿。宗庙上爵。朝廷上位。皆有等威。以明长幼。故得彝伦叙。而天下和平也。且上自宰相。御史大夫。两省五品供奉。自为一行。三师三公。师保傅。尚书丞郎。自为一行。九卿三监对之。从古以然。未尝参错。至如节度将军。各有本班。卿有卿监之班。将军有将军之班。以是开府特进。并是勳官。用荫即有高卑。会讌合依伦叙。岂可裂冠毁冕。反易彝伦。贵者为卑所凌。尊者为贼所偪。一至于此。振古未闻。如鱼军容。阶虽开府。官即监门将军。朝廷列位。自有次叙。但以功绩既高。恩泽莫二。出入王命。众人不敢比。不可令居本位。须别示有尊崇。只可于宰相师保座南。横安一位。如御史台众尊。知杂事御史。别置一榻。使百寮共得瞻仰。不亦可乎。何必令他失位。如辅国。倚承恩泽。径居左右仆射。及三公之上。令天下疑怪乎。圣皇时。开府。高力士。承恩宣传。亦不如此。横座亦不闻别有礼数。古人云。益者三友。损者三友。愿仆射与军容。为直谅之友。不愿仆射为军容佞柔之友。又一昨。裴仆射。欲令尚书失次。当时仆射贵。张目见尤。介众之中。不欲显过。今者兴道之会。还尔遂非。再独八座尚书。欲令便向下座。州县军城之礼。亦恐未然。朝廷公讌之宜。不应若此。仆射意只以为尚书之与仆射。若州佐之与县令乎。若以尚书同于县令。则仆射见尚书令。得如上佐事刺史乎。盖不然矣。且尚书令与仆射。同是二品。只校上下之阶。六曹尚书。并正四品。又非隔品致敬之类。尚书之事仆射。礼数未敢有失。仆射之顾尚书。何乃欲同卑吏。又据宋书百官志。八座同是第三品。隋及国家。始升别作二品。高自标致。诚此宗挤排伤甚。况于公堂。独出常伯。当为令公初到。不欲纷披。僶俛就命。亦非理屈。朝廷纪纲。须共存立。过尔堕坏。亦恐及身。明天子忽震电含怒。责斁彝伦之人。则仆射将何辞以对。新都汪孺仲以争坐位帖见示。神采奕奕。字形较陜刻差肥。乃知是米海岳所临。米尝有临争坐帖。在浙中。此殆其真蹟入石者耶。董其昌临。

印记资料:

作者印记：宗伯学士
作者印记：董氏玄宰
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别： 签；封面 ；书体：楷书；全文：董其昌临争座位帖。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页484 收藏着录： 故宫书画录（卷三），第一册，页100 内容简介（中文）： 董其昌（西元一五五五－一六三六年），字玄宰，号思白，江苏华亭人。万历十七年（一五八九）进士，官至礼部尚书，諡文敏。天才隽逸，善书画，富收藏，尤精鑑赏。临摹书蹟，至忘寝食。行楷之妙，称绝一代。 他对争坐位帖极为倾倒，尝推许为颜书中最烜赫者。曾将所藏此帖关中本，刻入戏鸿堂帖中，并于晚年一临再临，其临本仅本院收藏即已有三本，其书风正如董氏所谓：「于郁屈瑰奇之中，自具柔情卓绰约态。」 内容简介（英文）： Tung Ch'i-ch'ang (1555-1636) was a native of Hua-t'ing, Kiangsu province. His style name was Hsüan-tsai and he was known by the sobriquet Ssu-pai. He obtained the chin-shih degree in 1589 and went on to become the Minister of the Ministry of Rites. He was given the posthumous title Wen-min. Tung was exceptionally talented and accomplished as a calligrapher and painter; he was also a collector and an outstanding connoisseur. He frequently made free-copies and copies of old calligraphic works to the point that he would forget to eat or sleep. His ingenious semi-cursive and standard scripts were considered the best of his time.Tung was extremely fascinated by the cheng-tso-wei-t'ieh and of ten praised it as being Yen Chen-ch'ing's most magnificent calligraphic work. He once included the Kuan-chung version of the cheng-tso-wei-t'ieh in the blockprint of the Hsi-hung-t'ang-t'ieh. Later in his life he wrote copy after copy; the National Palace Museum alone has three copies. The style faithfully resembles what Tung himself described as, "while characterized primarily by grandiose strength, (my calligraphy) can also be delicate and gentle."