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:

芾顿首启。经宿。尊候冲胜山。试纳文府。且看芭山暂给一视其背。即定交也。少顷勿复言。芾顿。彦和国士。本欲来日送。月明。遂今夕送耳。

印记资料:

收传印记：安仪周家珍藏
收传印记：心赏
收传印记：安氏仪周书画之章

题跋资料:

题跋类别：题签；    宋米元章彦和帖

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 内容简介（中文）： 米芾〈西元1051-1107〉，湖北襄阳人。字元章，号鹿门居士、襄阳漫士、米南宫等。为人倜傥不羁，世称米颠。官至礼部员外郎，忠言弹劾，罢知淮阳军，翌年卒于淮阳任所。 米芾生平以书自负，自道师承，于古之名蹟无不学。要之，终以二王、颜真卿为骨干。苏轼称其书「迈往凌云之气，清雄绝世之文」。黄庭坚跋米书云：「馀尝评元章书，如快剑斫阵，强弩射千里，所当穿彻，书家笔势，亦穷于此。」 内容简介（中文）： 米芾(西元1051-1108年)，北宋书画家、鑑赏家。初名黻，字元章，号鹿门居士、襄阳漫士、海岳外史，自元祐六年(1091年)起，改名芾，祖籍太原(今属山西)，迁襄阳(今湖北襄樊)，世称米襄阳，后定居润州(今江苏镇江)。徽宗赵佶召为书画学博士，官至礼部员外郎，人称「米南宫」。有洁癖，多畜奇石。尝于无为州治，见巨石，状其丑，大喜，巨衣冠拜揖，呼之为「兄」，因举止狂放，世称「米颠」。不能与世随和，故从政数困。能诗文，善书画，精鉴别，好收藏名迹。行、草书博取前人所长，用笔俊迈豪放，有「风樯阵马，沉着痛快」之评。 内容简介（中文）： 米芾（西元一０五一－一一０七年）湖北襄阳人。字元章，号鹿门居士、襄阳漫士、米南宫等。为人倜傥不羁，世称米顚。行、草书博取前人所长，用笔俊迈豪放，有「风樯阵马，沉着痛快」之评。此帖运笔迅速，中锋运笔，转折遒劲，露锋尖利，风骨超逸，气韵俊迈豪放而潇洒自如，将沈着痛快的米家书法特色表露无遗。选自《宋四家墨宝册》第十四开。(20091015) 内容简介（中文）： 米芾（西元一０五一－一一０七年）湖北襄阳人。字元章，号鹿门居士、襄阳漫士、米南宫等。为人倜傥不羁，世称米顚。行、草书博取前人所长，用笔俊迈豪放，有「风樯阵马，沉着痛快」之评。此帖运笔迅速，中锋运笔，转折遒劲，露锋尖利，风骨超逸，气韵俊迈豪放而潇洒自如，将沈着痛快的米家书法特色表露无遗。选自《宋四家墨宝册》第十四开。(20110913) 内容简介（英文）： Mi Fu (style name Yuanzhang; sobriquets Lumen jushi, Xiangyang manshi, and Mi Nangong), a native of Xiangyang in Hubei, was unconventional and unbridled by nature, which is why he was also called “Eccentric Mi.” In running and cursive scripts, he adopted widely from the manners of the ancients. His brushwork was handsome and unrestrained like “Masts in wind and horses in front, steady yet overflowing.” The brushwork in this letter is swift and reveals the use of a centered tip. The twists and turns are powerful and the tip sharp when exposed, making for a free and natural style. The manner is handsome and unrestrained with great elegance in a smooth and fluid way, clearly revealing Mi Fu’s overflowing manner. This is the fourteenth leaf from the album “Ink Treasures by the Four Song Masters.”(20110913) 内容简介（英文）： Mi Fu (native of Xiangyang, Hubei; style name Yuanzhang, sobriquets Lumen jushi, Xiangyang manshi, and Mi Nangong) was unconventional and unbridled, so he was also called “Eccentric Mi.” In running and cursive scripts, he adopted widely from the ancients. His brushwork was handsome and unrestrained like “Masts in wind and horses in front, steady yet overflowing.” The brushwork here is swift and reveals a centered tip. The twists and turns are powerful and the tip sharp when exposed, making for a free and natural style. The manner is handsome and unrestrained with great elegance in a smooth and fluid way, clearly revealing Mi Fu’s overflowing manner. This is the 14th leaf from the album “Ink Treasures by the Four Song Masters.” (20091015) 内容简介（英文）： Mi Fu, a native of Hsiang-yang in Hupei, is often referred to by his style name Yüan-chang or one of his many sobriquets, Lu-men chü-shih, Hsiang-yang man-shih, Mi Nan-kung. His eccentric and caustic personality caused him to earn the nickname Crazy Mi. By virtue of his distinctive genius, he held many high government posts. Mi Fu devoted his lift to the study of calligraphy. He learned from all the great masters of the past, particularly the two Wangs of the Chin period and the T'ang master Yen Chen-ch'ing.