书体:

草书

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:

孟坚前日荷下顾。又承惠脏腑药。偶连日调利尚未服。储留俟或对证则服之也。公心公心言归。家酿二壶。持浼。幸留顿。仍今仆者面及。馀嗣谢次。孟坚简上严郎中太丞。

印记资料:

收传印记：张笃行印
收传印记：友古轩

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页710 收藏着录： 故宫书画录（卷三），第一册，页221 参考书目： 1.朱惠良，〈赵孟坚致严坚中太丞尺牍〉，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253。2.朱惠良，〈「七十件书画册页名品特展」精选(一) — 赵孟坚致严坚中太丞尺牍〉，《故宫文物月刊》，第146期（1995年5月），页70。 内容简介（中文）： 赵孟坚(1199-1264，一作1199-1267)南宋画家。字子固，号彝斋居士，海盐(今属浙江)人。晚年隐居秀州(今浙江嘉兴)广陈镇。宋之宗室，系出安定郡王，太祖十一世孙。理宗宝庆二年(1266)进士，曾为湖州掾，入转运司幕，知诸暨县，嗣为御史所劾，罢归；后曾在贾似道处作幕僚。能诗，善书法，工画水墨梅、兰、竹、石，取法扬无咎；尤精白描水仙，笔致细劲挺秀，赵孟頫曾评他：「所作墨花，于纷批侧塞中而就条理，亦一难也。」为人修雅博识，人比之米芾。有时东西游适，舟中仅留一禢憩息之地，馀皆所挟雅玩之物，意列吟弄，至忘寝食，岸人知为赵子固书画船。尝得姜白石所藏定武本契帖，立浅水中，对人说：「兰亭在此，馀不足问。」因题于卷首：「性命可轻，至宝是保。」传世作品有《白描水仙图》卷，现藏天津市艺术博物馆；《墨兰图》卷，藏北京故宫博物院；《岁寒三友图》册页，现藏台北故宫博物院。诗文有《彝斋文编》。 内容简介（中文）： 赵孟坚（西元1199-约1264年），字子固，号彝斋居士。浙江吴兴人，宋之宗室，宝庆二年（1226）进士，景定初年为翰林学士承旨，入元不仕，修雅博识，善画，工诗文，酷嗜法书，多收金石法帖，每泛舟漫游，舟中备琴酒书画，吟诗赏玩，世人喻为书画舫。尝得姜蘷旧藏定武兰亭，过霅之弁山，风作舟复，子固入水惟救此帖，谓性命可轻，至宝是保，此帖故名「落水兰亭」。此牍行笔可见锺繇法，为子固传世书蹟中之精品。本幅选自「宋元宝翰」册第十一幅。 内容简介（英文）： Chao Meng-chien(style name Tzu-ku; sobriquet I-chai chü-shih) was a native of Wu-hsing, Chekiang. He was a scion of the Sung imperial family, and he received his chin-shih civil service degree in 1226. In the beginning of the Ching-ting era(1260-1264), he served as a Hanlin Academician. However, he did not serve the Mongols in the succeeding Yüan dynasty, indulging himself, rather, in his many studies. Chao Meng-chien was good at prose and poetry, excelling at painting and calligraphy. He collected many pieces of ancient calligraphy. Chao would often take his collection of painting and calligraphy on a boat, which his contemporaries called a "boat of painting and calligraphy" He took the Ting-wu version of Wang Hsi-chih's(307-365) famous Preface to the Lan-t'ing Pavilion on a cruise one day. When a sudden wind capsized the boat, his collection went into the water. Chao Meng-chien was only able to save this work, which became known as the "Water-drenched Lan-t'ing." Chao thus considered this work more important than his own life. This piece reveals the influence of Chung Yu's(151-230) style, and it is a masterpiece of Chao's calligraphy. This is the eleventh leaf from the album Sung Yüan pao-han. 内容简介（英文）： Chao Meng-chien (style name Tzu-ku; sobriquet I-chai chu-shih) was a native of Wu-hsing, Chekiang. He was a scion of the Sung imperial family, and he received his chin-shih civil service degree in 1226. In the beginning of the Ching-ting era (1260-1264), he served as a Hanlin Academician. However, he did not serve the Mongols in the succeeding Yuan dynasty, indulging himself, rather, in his many studies. Chao Ming-chien was good at prose and poetry, excelling at painting and calligraphy. He collected many pieces of ancient calligraphy. Chao would often take his collection of painting and calligraphy on a boat, which his contemporaries called a "boat of painting and calligraphy." He took the Ting-wu version of Wang Hsi-chih's (307-365) famous Preface to the Lan-t'ing Pavilion on a cruise one day. When a sudden wind capsized the boat, his collection went into the water. Chao Ming-chien was only able to save this work, which became known as the "Water-drenched Lan-t'ing." Chao thus considered this work more important than his own life. This piece reveals the influence of Chung Yu's (151-230) style, and it is a masterpiece of Chao's calligraphy. This is the eleventh leaf from the album Sung Yuan pao-han.