书体:

楷书

色彩:

装裱形式:

册(蝴蝶装)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

欲借嵯峩万仞崇。故将工巧状层峰。数寻苍色如烟合。一片盘根似藓封。院宇接连常籍竹。池亭掩映却凭松。分明装出依巖寺。只欠清宵几韵锺。风霜正腊晨。早见几枝新。预荷东皇化。偷回北苑春。旗枪虽不类。荈孽似堪伦。已有清荣谕。终难混棘蓁。

印记资料:

题跋资料:

题跋类别：题签；    宋徽宗御书

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445 收藏着录： 故宫书画录（卷三），第一册，页178-180 参考书目： 1.王耀庭，〈徽宗书诗〉，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244。2.王耀庭，〈「七十件书画册页名品特展」精选(四) — 徽宗书诗〉，《故宫文物月刊》，第149期（1995年8月），页82-83。3.何传馨，〈「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11。 内容简介（中文）： 宋徽宗（1082-1151），姓赵名佶，神宗十一子。性好书画禀赋极高，书画无不精工，并善体物情，其花鸟画描绘，刻划入微，尤为擅长。主导北宋晚期画院，影响中国绘画至钜。宋徽宗书法，别成一体，自号瘦金书。这种书风学自唐代薛稷，特征是笔迹细瘦。在转折处，将藏锋露锋运转提顿痕迹，特别加强，即成瘦金书的基本笔画架构。如写一横，起笔处是尖，先斜下，而后横行，收笔留有一顿点，即是特点之一。本幅选自「宋人书册」第一幅。 内容简介（中文）： 宋徽宗（1082-1151），姓赵名佶，神宗十一子。性好书画禀赋极高，书画无不精工，并善体物情，其花鸟画描绘，刻划入微，尤为擅长。主导北宋晚期画院，影响中国绘画至钜。宋徽宗书法，别成一体，自号瘦金书。这种书风学自唐代薛稷，特征是笔迹细瘦。在转折处，将藏锋露锋运转提顿痕迹，特别加强，即成瘦金书的基本笔画架构。如写一横，起笔处是尖，先斜下，而后横行，收笔留有一顿点，即是特点之一。本幅选自「宋人书册」第一幅，以徽宗最著名的「瘦金体」写成七言及五言诗一首，结体瘦劲挺拔、造型凝鍊而充满张力。 内容简介（中文）： 宋徽宗（西元一Ο八二？一一三五年）名赵佶，雅好文艺，因推崇「丰亨豫大」，致使政事颓败，金人遂得代之。其「瘦金书」别具特色，渊源自唐代薛稷（西元六四九？七一三年）等强调结字劲瘦的书风。此开写诗二首，诗题皆不存，右幅疑写宫苑奇石，左幅可能写珍奇花卉。其横画多细劲，钩挑转折强调提顿，整体结字带有饱满弧度，笔划虽细却显得清劲俊拔，更显飘逸不凡。 本幅选自《宋人法书册》。(20100711) 内容简介（英文）： Emperor Huizong (personal name Zhao Ji) was devoted to the arts, but his policy of “Peace and Plenty for All” led to administrative collapse, which the Jin took advantage of. His distinctive “Slender Gold” script traces back to the Tang style of Xue Ji (649-713), emphasizing thin, powerful characters. This leaf has two unnamed poems. The right one appears to describe a palace garden rock, while the left one perhaps describes an exotic flower. Horizontal strokes are mostly fine and strong, the turns in the hooks and flicks of the brush emphasizing where they started and stopped, giving the characters an overall arcing fullness. The strokes are both fine and handsome for an extraordinary lightness. This is from “Album of Song Calligraphy.”(20100711) 内容简介（英文）： Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I, and it is composed of a seven- and five- character verse done in his famous "slender-gold" style. The delicate, tensile forms to the characters create for a tough, bony form that is also full of power and tension. 内容简介（英文）： Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I.