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:

张长史怀素高闲皆名善草书。长史颠逸。时出法度之外。怀素守法。特多古意。高闲用笔粗。十得六七耳。至山谷乃大坏。不可复理。此伯几真迹。（小行书。注五字）。渔父词。

印记资料:

作者印记：水帘洞道士
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：薛玄卿印
收传印记：游心古道
收传印记：张坤厚印
收传印记：真佑
收传印记：绣山
收传印记：洪章
收传印记：张氏伯元
收传印记：林阿士衡
收传印记：白雪巢图书印
收传印记：张氏志德（重一。其一半印）
收传印记：灌湘
收传印记：诗书世家
收传印记：河东司徒世家
收传印记：郑氏居贞
收传印记：二十四喦人李又玄同叟信（重一。其一半印）
收传印记：宋荦审定

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页471-472 收藏着录： 故宫书画录（卷三），第一册，页227-231 参考书目： 1.何传馨，〈元鲜于枢论张旭怀素高闲草书〉，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77。2.何传馨，〈大汗的世纪　赵孟頫鲜于枢墨蹟合册〉，《故宫文物月刊》，第223期（2001年10月），页18-19。 内容简介（中文）： 鲜于枢。西元一二四六至一三0二。字伯机。渔阳人。至元间以材选为江浙行省都事。后官太常寺典簿。意气豪迈。善词赋。工行书及画。 赵孟頫云。馀与伯机同学草书。伯机过馀远甚。极力追之而不能及。伯机已矣。世乃称仆能书。所谓无佛处称尊也。可谓推服之甚矣。此帖仅五十三字。而使转纵横。遒劲之甚。正不觉其少也。 内容简介（中文）： 鲜于枢（西元一二四六至一三0二年），字伯机，渔阳（今今天津蓟县一带）人。至元间以材选为江浙行省都事，后官太常寺典簿。意气豪迈，善词赋。工行书及画。赵孟頫云：「馀与伯机同学草书，伯机过馀远甚，极力追之而不能及，伯机已矣，世乃称仆能书，所谓无佛处称尊也。」可谓推服之至。此帖论唐代张旭、怀素、高闲及宋代黄庭坚草书，崇唐抑宋，运笔使转纵横，可见到怀素草书影响。(20121017) 内容简介（英文）： Xianyu Shu (style name Boji) was a native of Yuyang (around modern Jixian, Tianjin). Based on ability, he was chosen for the Jiangsu-Zhejiang Branch Secretariat, later rising to Archivist in the Court of Imperial Sacrifices. Bold in manner, he was gifted at poetry, running script, and painting. Zhao Mengfu once said, “Boji and I studied cursive script, but Boji far surpassed me. Exerting utmost effort, I still could not catch up. Alas, he is now gone. People say I am able in calligraphy. Such is when an exalted one has left.” It shows how much Zhao venerated Xianyu. This is a discourse on the cursive of 3 Tang calligraphers and Huang Tingjian of the Song. In praising the Tang over Song, the brushwork is compelling in its turns, showing the influence of Huaisu.(20121017) 内容简介（英文）： Hsien-yu Shu was a native of Yu-yang, Hopei. His style name was Po-chi. On the basis of his ability he was chosen assistant provincial secretary of Kiangsu and Chekiang, and later served as a high official to the Mongols. His deportment was unrestrained. Excelling in the composition of verse, his semi-cursive script and painting were also excellent. Chao Meng-fu (1254-1322) once said: "Po-chi and I studied cursive script together. He excelled me by far. Exerting my utmost effort, I still could not catch up with him. Alas, he is now no more. And people today say that I have ability in calligraphy. Such is the case when the exalted one has left the scene." This essay contains only 53 characters, but in the compelling turns and the vertical and horizontal movements, there is a most powerful energy, so that one feels the piece to be not at all brief.