书体:

行书

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:

襄启。自离都至南京。长子匀感伤寒七日。遂不起此疾。南归殊为荣幸。不意灾祸如此。动息感念。哀痛何可言也。承示及书。并永平信。益用悽恻。旦夕度江。不及相见。依咏之极。谨奉手启。为谢不一不一。襄顿首。杜君长官足下。七月十三日。贵眷各佳安。老儿已下无恙。永平已曾于递中。驰信报之。

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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
收传印记：孙琦之印
收传印记：心赏
收传印记：安仪周家珍藏
收传印记：朝鲜人
收传印记：安岐之印

题跋资料:

题跋类别：题签； 裱纸  宋蔡忠惠公杜君帖。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页1097 收藏着录： 故宫书画录（第三卷），第一册，页141 收藏着录： 故宫历代法书全集，第十一册，页4-37、186-193 参考书目： 1.王耀庭，〈蔡襄致杜君长官尺牍（离都帖）〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页469- 471。2.陈阶晋，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(五) — 书法、图书文献〉，《故宫文物月刊》，第248期（2003年11月），页7。3.〈致杜君长官尺牍(离都帖)〉，收入何传馨、陈阶晋、何炎泉编，《故宫法书新编 （八）　宋 蔡襄墨蹟》（台北：国立故宫博物院，2011年九月初版一刷），页52-55。 内容简介（中文）： 蔡襄，字君谟，兴化仙游（今福建仙游）人。天圣八年（1030），十九岁中进士，曾做过开封知府、福州、泉州、杭州等地的知州。书法学虞世南、颜真卿，并取法晋人，与苏轼、黄庭坚、米芾并列为「北宋四家」，誉满书苑，苏轼称他「天资既高，积学深至，心手相应，变态无穷，遂为本朝第一。」此帖又名「离都帖」。至和二年（1055）六月，蔡襄出知泉州，离汴京经商丘（南京），长子匀感伤寒去世，友人杜衍来信慰问，襄作此书答谢。书法丰腴厚重似颜真卿，兼有王羲之行草之俊秀。本幅选自「宋四家墨宝」册。 内容简介（中文）： 蔡襄（1012－1067），字君谟，福建仙游人。书法学虞世南、颜真卿，并取法晋人。与苏轼、黄庭坚、米芾并列「北宋四家」，誉满书苑。此帖又名〈离都帖〉，乃蔡襄即将渡长江「南归」途中所书，追述离都（开封）行至南京（今商丘）而痛失长子。友人来信慰问，襄作此书答谢。书法丰腴厚重处似颜真卿，兼有王献之行草之俊秀。蔡襄享年五十六岁，因而这件尺牍即可目为他成熟书风的代表作。(20061206) 内容简介（中文）： 蔡襄（西元一０一二－一０六七年），字君谟，福建仙游人。书法学虞世南、颜真卿，并取法晋人。与苏轼、黄庭坚、米芾并列为「北宋四家」，誉满书苑。 此帖又名〈离都帖〉。乃蔡襄即将渡长江「南归」途中所书，追述离都（开封）行至南京（今商丘）而痛失长子。友人来信慰问，襄作此书答谢。书法丰腴厚重处似颜真卿，兼有王羲之行草之俊秀。选自〈宋四家墨宝〉册。(20110710) 内容简介（英文）： Cai Xiang, a native of Xianyou, Fujian, studied the Tang dynasty styles of Yu Shinan and Yan Zhenqing, while also looking back to the methods of Jin calligraphers. Famed for his calligraphy, Cai was one of the “Four Masters of the Northern Song.” This work, also known as Letter on Leaving the Capital, was written while Cai was traveling to the south. Leaving the capital (Kaifeng) on the way to Nanjing (modern Shangqiu), he learned that his eldest son had passed away. His friend Du wrote to send his condolences, and Cai wrote back in gratitude. The style, plump and heavy in places like that of Yan Zhenqing’s, also has the elegance of Wang Xizhi’s semi-cursive script. This work is from the album “Ink Treasures of the Four Song Masters.”(20110710) 内容简介（英文）： Ts'ai Hsiang, style name Chün-mo, was a native of Hsien-yu in Fukien. In calligraphy, he followed the traditions of the T’ang dynasty masters Yü Shih-nan and Yen Chen-ch’ing while also borrowing from calligraphers of the Chin. Famous in calligraphic circles, he was known along with Mi Fu, Su Shih, and Huang T'ing-chien as one of the Four Masters of the Northern Sung. This work is also known as “Leaving the City” and was written as Ts'ai Hsiang was about to cross the Yangtze River “returning south”, recalling with anguish how he lost his eldest son after leaving the capital city (K’ai-feng) on his way to Nan-ching (“Southern Capital”, modern Shang-ch’iu). A friend had written a letter to express condolences, and Ts'ai composed this letter in gratitude. The places where the calligraphy is full of form and solid in appearance resemble those of Yen Chen-ch’ing, combined with some of the elegance of Wang Hsien-chih’s semi-cursive script. This letter, written by Ts'ai Hsiang at the age of 55, can be considered a representative work of his mature calligraphy style.(20061206) 内容简介（英文）： Ts'ai Hsiang （style name Chün-mo）was a native of Hsien-yu, Fukien. In 1030, at the age of 18, he received the chin-shih service degree, and he went on to serve as prefect of such places as Fu-chou, Ch'uan-chou, Hang-chou and the capital district of K'ai-feng. In calligraphy, he studied the styles of Yü Shih-nan（558-638）and Yen Chen-ch'ing（709-785）while learning from those of even earlier chin masters. Su Shih（1036-1101）praised Ts'ai Hsiang as "Gifted by nature, his studied deep and far-reaching. His heart and hand move in harmony to produce a myriad forms unparalleled in our dynasty." This work, also known as Letter on Leaving the Capital, was written while Ts'ai was traveling to south. In the sixth lunar month of 1055, Ts'ai Hsiang was assigned as prefect of Ch'uan-chou. He left the capital and was passing through Shang'ch'iu(Nanking) when he received word that his eldest son passed away from typhoid. His friend Tu Yen sent condolences, and Ts'ai expressed his gratitude in this return letter. The calligraphy in this letter is plump and heavy in places, much like the style of Yen Chen-ch'ing combined with the handsome elegance of the running script of Wang Hsi-chih（ca. 307-ca. 365）. This work is from Ink Treasures of the Four Sung Masters. 研究性论着： 蔡襄，字君谟，兴化仙游（今福建仙游）人。襄书初学周越，后出入颜真卿、虞世南、王羲之，而能自闢蹊径。行书第一，小楷第二，草书第三。他擅长真行草隶各体，尤以行、楷着称，更有善写丰碑巨额的绝招，誉满书苑，时与苏、黄、米并列“宋四家”。蔡天资高颖，书法入二王，行书最佳，系超法尚意书风的第一人。 蔡襄传世书迹为楷、行两体，楷体蹈唐人规矩，无甚超越，行书则个性突出，别树一帜。此帖可窥堂奥。从现存留下的蔡襄墨迹看，以笔札最优。其中行楷受到颜体影响较深，严谨厚重不及，但潇洒蕴借可上追晋人。行草书明显地受「二王」影响，值得珍视的是吸收、消化了颜体笔意。蔡襄书法中的天趣，只有简札中保留最多，在日常的问答、往还中无意工书而趣味盎然。全幅22行112字，系蔡襄即将渡长江“南归”途中所书。此帖追述离都（开封）行至南京（今商丘）而痛失长子等事。至和二年（1055）六月，蔡襄出知泉州，离汴京经商丘（南京），长子匀感伤寒去世，友人杜衍来信慰问，蔡作此书答谢。信中所谓“南归”指回老家做官。蔡襄宦迹中曾两度出守福州，首次在庆历四年（1044），他33岁，第二次在至和三年（1056），四五岁。据欧阳修《瑞明殿学士蔡公墓志铭》记载，襄有三子：「曰匀，将作监主簿；曰旬，大理评事，皆先公卒。幼子巹也。」蔡匀既有官职，显然已经是成人，所以可以推断此书必定作于后一次的「南归」。蔡返乡为官本是荣幸之事，却逢中年丧子之哀事，矛盾复杂心情交杂一时，故此帖平静中含杂乱，踌躇中见伤痛。书信虽在哀伤惨淡的情绪中写就，犹不失遒丽之致，可见蔡襄襟怀与颜真卿告伯祭姪时的激烈有大异。这似乎可诠释苏轼评蔡襄「真（学颜）不如行（学虞）」的原因。颜真卿之《祭姪文稿》书于心情极其摧裂之时，但行笔恍惚、错杂；蔡襄之离都帖则书于悲喜交加之时，故行笔冲融有致，但内含哀韵。书尚宣情，意情不同，自然行笔有异，这或许不失真不如行的问题，其实蔡襄是学颜、二王的高手，与虞世南关系不大。此帖书法丰腴厚重处似颜真卿，兼有王羲之行草之俊秀。