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:

花气薰人欲破禅。心情其实过中年。春来诗思何所似。八节滩头上水船。

印记资料:

收传印记：缉熙殿宝（重一）
收传印记：贞（半印）
收传印记：元（半印）
收传印记：心赏
收传印记：朝鲜人
收传印记：安岐之印
收传印记：安仪周家珍藏
收传印记：无恙
收传印记：（一印不辨）

题跋资料:

题跋类别：题签； 裱纸  宋黄山谷花气诗一帖。

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.何传馨，〈黄庭坚七言诗〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页241-242。2.何传馨，〈黄庭坚书七言诗（花气薰人帖）〉，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365- 368。3.何传馨，〈宋黄庭坚书七言诗(花气薰人帖)〉，收入何传馨编，《书法之美特展图录》（台北：国立故宫博物院，1992年五月初版一刷），页90。4.何传馨，〈「七十件书画册页名品特展」精选(三) — 黄庭坚书七言诗〉，《故宫文物月刊》，第148期（1995年7月），页50-52。5.何传馨，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑一 — 黄庭坚书七言诗〉，《故宫文物月刊》，第185期（1998年8月），页16-17。6.何传馨，〈黄庭坚的草书小品 — 花气薰人帖〉，《故宫文物月刊》，第272期（2005年11月），页32-39。 内容简介（中文）： 此帖为黄庭坚晚年时（约1100年），重新书写中年时代（1087年）赠答王诜（1048-1104后）的七言绝句，诗中以典故隐喻着自己难于作诗的窘况。通幅为草书小品，因受限于书写范围，故而运笔含蓄内敛，以劲直的笔画，墨色的浓枯，表现出苍劲坚实之质感，为精谨的佳作。 黄庭坚（1045－1105）字鲁直，号涪翁、山谷道人，江西分宁人。他擅长于诗文、书法，和苏轼、米芾、蔡襄并列为北宋四大书家。(20061206) 内容简介（中文）： 黄庭坚（西元一○四五－一一○五年），字鲁直，号山谷道人，江西修水人。工诗文，自言学草书三十馀年，晚观苏轼之书脱早年俗气，后得张旭、怀素墨妙，乃窥笔法之妙。 黄氏草书流传极少，此帖虽是草书结体，但有行书笔意，字字独立，笔画起止显得缓和沉着。虽仅有五行，大小疏密，纵横参错，变化多端，大草书若此者不可多得。本幅选自「宋四家墨宝」册。 内容简介（中文）： 黄庭坚（西元1045-1105年），字鲁直，号山谷道人，江西分宁人。二十三岁中进士，历官山西太和知县、校书郎，绍圣年间贬为涪州（四川）别驾，黔州安置，后移居戎州，晚年再贬至广西宜州，六十一岁卒于任上。工诗文，自言学草书三十馀年，晚观苏轼之书脱早年俗气，后得张旭、怀素墨妙，乃窥笔法之妙。 元祐二年（1087），黄庭坚寄扬州友人王巩二诗，并谓：「王晋卿（诜）数送诗来索和，老嬾不喜作，此曹狡猾，又频送花来促诗，戏答（下为本诗）。」可知原诗为王诜所作，黄庭坚表示难于作诗。黄氏草书流传极少，此帖虽是草书结体，但有行书笔意，字字独立，笔画起止显得缓和沉着。虽仅有五行，大小疏密，纵横参错，变化多端，大草书若此者不可多得。本幅选自「宋四家墨宝」册。 内容简介（中文）： 黄庭坚（西元一○四五－一一○五年），字鲁直，号山谷道人，江西修水人。工诗文，自言学草书三十馀年，晚观苏轼之书脱早年俗气，后得张旭、怀素墨妙，乃窥笔法之妙。此帖所书是黄氏为友人王晋卿戏作七言律诗，虽是草书结体，但有行书笔意，字字独立，笔画起止显得缓和沉着。虽仅有五行，大小疏密，纵横参错，变化多端，草书若此者不可多得。选自「宋四家墨宝」册。 内容简介（英文）： Huang T’ing-chien was a native of Hsiu-shui, Kiangsi. Good at poetry and prose, he said had he studied cursive script for more than 30 years. Upon seeing Su Shih’s calligraphy, he then abandoned his common style and achieved the ink marvels of Chang Hsü and Huai-su. This work from the album “Ink Treasures of the Four Sung Masters” is a 7-character regulated verse written to his friend in jest. Though the characters are in cursive form, the brushwork has elements of running script. Each character is independent, the strokes starting and stopping with moderation and composure. Though only 5 lines, there is considerable variety in the size and density as well as the length and breadth, a work of cursive script like this very hard to come by. 内容简介（英文）： Huang T'ing-chien（style name Lu-chih; sobriquet Fu-weng）was a native of Fen-ning, Kiangsi. At the age of 23 he received his chin-shih civil service degree. During his career, he served as prefect of T'ai-ho in Shansi and Editor at court. During the Shao-sheng era (1094-1097), he was demoted to Mounted Escort of Fu-chou in Szechuan, living in Ch'ien-chou and later moving to Jung-chou. Late in life, Huang was demoted again to I-chou in Kuang-hsi, passing away at the age of 61 in office. He excelled at poetry and belles-lettres. He wrote that after studying cursive script for more than 30 years, he saw the calligraphy of Su Shih and abandoned his earlier common style to discover those of Chang Hsü and Huai-su. In 1087, Huang T'ing-chien wrote two poems to his friend in Yang-chou named Wang Kung, saying, "Wang chin-ch'ing (Shen) has many times written poems waiting for my response, but I have never felt like writing a poem. However, he does not give up, often sending gifts of flowers. In gest, I have written this poem to him…." Thus, we know that this particular poem was originally meant for Wang Shen and it expressed Huang's desire to avoid responding to Wang. Few examples of Huang's cursive script have survived. Although in cursive script, this work has the manner of running script. The characters are individual with distinct slowness and steadiness in some places where the strokes start and end. Though composed of only 5 lines, there is variety to the size and distribution of the strokes. The spirited brushwork emphasizes a sense of harmony. There are few works of large cursive script like this, the 9th leaf from "Ink Treasures of the Four Sung Masters." 内容简介（英文）： Huang T'ing-chien excelled at poetry and belles-lettres. He wrote that after studying cursive script for more than 30 years, he saw the calligraphy of Su Shih and abandoned his earlier common style to discover those of Chang Hsu and Huai-su. Few examples of Huang's cursive script have survived. Although in cursive script, this work has the manner of running script. The characters are individual with distinct slowness and steadiness in some places where the strokes start and end. Though composed of only 5 lines, there is variety to the size and distribution of the strokes. The spirited brushwork emphasizes a sense of harmony. There are few works of large cursive script like this, the 9th leaf from "Ink Treasures of the Four Sung Masters." 内容简介（英文）： Huang T'ing-chien, style name Lu-chih and sobriquets Fu-weng and Shan-ku tao-jen, was a native of Fen-ning, Kiangsi. He specialized in poetry and prose as well as calligraphy, being known in the latter along with Su Shih, Mi Fu, and Ts’ai Hsiang as one of the Four Masters of the Northern Sung. This work is from Huang T'ing-chien's later years (from about 1100). In it, he rewrote a seven-character truncated verse that he had done in his middle years (in 1087) and given in response to Wang Shen (1048-after 1104). In the poem, he refers using allusion and metaphor to the difficulties he encountered in composing poetry. An intimate work in cursive script, this piece is somewhat restricted by the confines of the writing, so the brush movement is more introverted and concealed. The strong brush strokes and thick ink express features of mature force and solidity, making this a masterpiece of refinement and precision.(20061206) 研究性论着： 黄庭坚（西元1045--1105年）字鲁直，号涪翁。江西分宁（今修水）人。二十三岁（1067）中进士，哲宗时（1085），任祕书省校书郎，迁集贤殿校理，神宗实录院检讨官。后因蔡卞等指《实录》多诬，于绍圣年间（1094--1097），贬为涪州（四川）别驾，黔州安置，元符年间（1098--1100）移居戎州。徽宗崇宁二年（1103）因与私人有隙，再贬至宜州（广西），卒于任上，年六十一。他是北宋著名的文学家与书家，书法渊源多种，主要受颜真卿、苏轼和南朝刻石〈瘗鹤铭〉影响。黄庭坚友人王诜很欣赏黄庭坚的诗，经常送花来索诗，黄庭坚乃戏作此诗答之，表示已过中年，难有作诗的心情，时约在元祐二年（1087），四十三岁。（注1 ）此幅随手写来，用笔苍劲，墨色由浓润而枯涩，虽是草书结体，但有行书笔意，字字独立，笔画起止显得缓和沉着，不像其他传世几件大草书那样放纵畅快，曾经收藏此帖的安岐（1683--1742）评论说: 「此诗书法精妙，神气焕发，....大草书如此者，不能多睹也。」（注2 ）（注1 ）参见黄田，《黄山谷年谱》，收录于《适园丛书》（江苏 : 广陵古籍出版社，1986）第七集，卷二二，页1 。徐邦达，《古书画过眼要录》（长沙: 湖南美术出版社，1987），页300-301 。傅申先生定此帖约书于一一００年，参见Shen C. Y. Fu, "Huang T'ing- chien's Cursive Script and Its Influence." In A. Murck and Fong,Words and Images: Chinese Poetry,Calligraphy and Painting （New York:The Metropolitan Museum of Art,1991，p.112. （注2 ）安岐，《墨缘汇观录》卷一，收录于杨家骆编，《艺术丛编》（台北:世界书局，1968）第一集第十七册，页32 。