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:

一夜寻黄居寀龙不获。方悟半月前是曹光州借去摹搨。更须一两月方取得。恐王君疑是翻悔。且告子细说与。才取得。即纳去也。却寄团茶一饼与之。旌其好事也。轼白。季常。廿三日。

印记资料:

收传印记：寄敖
收传印记：神游心赏（重一）
收传印记：子孙世昌
收传印记：子京
收传印记：神
收传印记：品
收传印记：墨林秘玩
收传印记：项子京家珍藏
收传印记：退密
收传印记：项元汴印
收传印记：子京父印
收传印记：项墨林鑑赏章
收传印记：平生真赏
收传印记：檇李项氏士家宝玩
收传印记：子孙永保
收传印记：项墨林鑑赏章
收传印记：天籁阁（半印）
收传印记：墨林山人（半印）
收传印记：项叔子（半印）
收传印记：仪周鑑赏

题跋资料:

题跋类别：题签；   ；书体：楷书；全文：宋苏文忠公轼书。

主题:

技法:

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页473-477 收藏着录： 故宫书画录（卷三），第一册，页154-159 收藏着录： 故宫历代法书全集，第十一册，页90-97、198-202 参考书目： 1.郑瑶赐，〈苏轼致季常尺牍〉，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239-241。2.郑瑶赐，〈「七十件书画册页名品特展」精选(四) — 苏轼致季常尺牍〉，《故宫文物月刊》，第149期（1995年8月），页86-88。3.廖宝秀，〈也可以清心 — 茶器、茶事、茶画〉，《故宫文物月刊》，第232期（2002年7月），页13。4.〈致季常尺牍(一夜帖)〉，收入何传馨、陈阶晋、何炎泉编，《故宫法书新编（九）　宋　苏轼墨蹟(上)》（台北：国立故宫博物院，2011年九月初版一刷），页64-66。 内容简介（中文）： 苏轼（西元１０３６－１１０１），字子瞻，号东坡，四川眉山人。宋代著名文学家，并以书法闻名于世。东坡一生历经劫难，又于晚年贬往岭南，擅以超脱旷达的逸怀浩气创作作品。 东坡书法初学「兰亭」，中年喜临颜真卿、杨凝式，影响宋代书法甚钜，为改革派领袖。本幅是写与其友陈卦的书札。书法雄劲磊落，自然流畅。选自「宋十二名家法书」卌。 内容简介（中文）： 苏轼（西元1036－1101），字子瞻，自号东坡居士，四川眉山人。苏洵仲子，嘉祐进士，累官至端明殿翰林侍学士，礼部尚书，谥文忠。宋代著名文学家，并以书法闻名于世，诗、文、书、画俱成大家。东坡一生历经劫难，曾被控以文字讪谤君上，责受黄州，绍圣中贬琼州，大赦北返于常州，宦海浮沈，然在文学艺术上却有不朽之地位，擅以超脱旷达的逸怀浩气创作作品。 东坡书法初学「兰亭」，中年喜临颜真卿、杨凝式，影响宋代书法甚钜，为改革派领袖。东坡对书法有其独到之看法，他说：「予尝论书，以谓锺王之迹萧散简远、妙在笔画之外，唐颜柳始集古今笔法而尽之，锺王之法益微。」本幅是写与其友陈慥的书札，书法雄劲磊落，自然流畅，显然已开书法新局面。本件选自「宋十二名家法书」册第三幅。 内容简介（中文）： 此幅为苏轼（西元一0三七－一一0一年）致陈慥（字季常）的信函。内容为讬季常代向王君解释无法出借黄居寀画的原因，为表歉意，特随信附上团茶一饼。团茶如饼状圆形，故以「饼」为数量词。 北宋中晚期团茶做得极为精致，有大、小龙凤团、密云龙等名品。此时「密云龙」居小龙团之上，东坡曾得赐数饼，并作诗：「小团得屡赐，粪土视珠玉。」馈赠友人的，或为龙凤团茶，但仍是高贵礼品。 内容简介（英文）： This is a letter from Su Shih to Ch'en Tsao. Su asked Ch’en to explain to Wang Chun why he could not lend his Huang Chu-ts'ai painting, asking his forgiveness with a gift of caked disc tea (molded like a cake and thus counted as a "disc"). In the middle and late Northern Sung, caked tea was made with exceptional care. Varieties included "large and small dragon and phoenix" caked tea and "dense-cloud dragon" tea. At the time, dense-cloud dragon tea was superior to small dragon caked tea. When Su Shih once received a gift of several precious cakes, he composed a verse in which he likened these small cakes of tea to pearls and jade. Perhaps the gift to his friend was dragon-phoenix caked tea, which was still quite expensive at the time. 内容简介（英文）： Su Shih's style name was Tzu-chan, and he called himself Tung-p'o chü-shih, a native of Mei-shan in Szechwan. The second son of Su Hsün, having passed the chin-shih examination in the Chia-yu era(1056-1064), and he was eventually promoted to the position of Reader-in-Attendance at the Tuan-ming Hall of the Han-lin Academy, and was confered the posthumous title of Wen-chung. He was a master poet and essayist and excelled in calligraphy and painting. Although he held many high positions, his writings were often misconstrued as critical of the emperor, resulting in demotions first to Huang-chou and then to Ch'iung-chou. When the emperor finally pardoned him. He returned north, but passed away in Ch'ang-chou. Despite the ups and downs of Su's political carrer. He managed to achieve an immortal position in calligraphy, painting, and poetry. Early in his study of calligraphy, Su studied the Orchid Pavilion Preface by Wang His-chih, and in his middle years, he copied the works of Yen Chen-ch'ing and Yang Ning-shih. He had a major influence on Sung calligraphy as an innovator and leader in the art world. Su Tung-p'o had a unqiue approach to calligraphy. He once wrote, "I have written on calligraphy, feeling that the traditions of Chung Yu（151-230）and Wang His-chih（ca. 307-ca.365）are desolate and remote; the wonders of their calligraphy actually lie beyond the individual brush strokes. In the T'ang dynasty, Yen Ch'ing（709-785）and Liu Kung-ch'uan（778-865）collected and chose from the best of ancient and contemporary styles to from those of their own. As a result, the esteem for Chung Yu and Wang His-chih subsequently declined." This work by Su is a letter written to his friend Ch'en Tsao. Su's calligraphy is powerful and direct, as well as natural and quite fluid. Obviously, the style here represents a new and unique approach to calligraphy. Its influence on Sung calligraphy styles was great. This is the third leaf in the album Sung shih-erh ming-chia fa-shu. 内容简介（英文）： Su Shih, a native of Szechwan province, is better known by his style name Tung-p'o. He was famous for calligraphy in addition to poetry. Despite the vicissitudes of his official career, he achieved immortality in the scholar arts. Early in his study of calligraphy, Su studied the Orchid Pavilion Preface by Wang Hsi-chih, and in his middle years, he copied the works of Yen Chen-ch'ing and Yang Ning-shih. He had a major influence on Sung calligraphy as an innovator and leader in the art world. This work was written by Su as a letter to his friend Ch'en Tsao. Su's calligraphy is powerful and direct, as well as natural and quite fluid. This leaf is from the album Works by Twelve Famous Sung Calligraphers. 内容简介（英文）： Su Shih, a native of Mei-shan in Szechuan, had the style name Tzu-chan, but was better known by his sobriquet Tung-p'o. Although he held many high positions, his writings were often misconstrued as critical of the emperor, resulting in demotions first to Huang-chou and then to Ch'iung-chou. When the emperor finally pardoned him, he returned north, but passed away in Ch'ang-chou. Despite the ups and downs of Su's political career, he managed to achieve an immortal position in calligraphy, painting, and poetry. Su Tung-p'o had a unqiue approach to calligraphy. He once wrote, " have written on calligraphy, feeling that the traditions of Chung Yu（151-230）and Wang His-chih（ca. 307-ca.365）are desolate and remote; the wonders of their calligraphy actually lie beyond the individual brush strokes. In the T'ng dynasty, Yen Chen-ch'ing（709-785）and Liu Kung-ch'uan（778-865）collected and chose from the best of ancient and contemporary styles to from those of their own. As a result, the esteem for Chung Yu and Wang His-chih subsequently declined."This work by Su is a letter written to his friend Ch'en Tsao. Obviously, the style here represents a new and unique approach to calligraphy. Its influence on Sung calligraphy styles was great. This is the third leaf in the album Sung shih-erh ming-chia fa-shu.