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:

（第一则）为张来仪命（点去）赋匡山读书处。庐山欝岧嶤。上有香罏峯。影落碧天外。翠玉琢芙蓉。牵萝读书处。云（原作苔字）磴无行踪。犹遗石上苔。花开紫丰茸。愁心乱春雪。宝气沉双龙。应化苏耽鹤。归栖千岁松。仙巖采薇叟。久别倘相逢（第二则）赋潘公鸣皐轩。白鹤禀灵质。翻翻有奇姿。海月比高洁。巖云共逶迤。池上葛蒲花。春烟紫绥绥。飞鸣聊饮啄。乘风来下之。我登鸣皐轩。遂赋鸣皐诗。安得赤玉舄。鹤上吹参差。（第三则）马国瑞东皐轩。未羨勳名马伏波。少游乡里乐婆娑。轻舟陌上山堪数。细雨篱边菊未莎。浩荡五湖鸥梦冷。萧寥万里鹤情多。寒厅时有幽人宿。月烛高张幔绿萝。（第四则）次韵通书记同过郑先生旧宅。女萝垂绿翳衡门。野水通池没旧痕。有道忘情观物化。清言如在想人存。凄凉江海空茅宇。惨淡烟埃委石尊。一奠山泉荐芹藻。古心寂寞竟谁论。（第五则）赠郭本斋。高人郭本斋。轻舟东渡淮。卖药不二价。向人多好怀。世方忧暍死。我岂与时乖。欲觅金光草。相期弱水涯。瓒录呈大临征君并似德和郎官仲博广文求教益。

印记资料:

收传印记：项笃寿
收传印记：耿嘉祚

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712-714 收藏着录： 故宫书画录（卷三），第一册，页252-253 收藏着录： 故宫历代法书全集，第十六册，页68-91、173-179 内容简介（中文）： 倪瓒（西元一三0一年－一三七四年），江苏无锡人，字元镇，号云林，山水风格简淡，为元四大家之一，他的书法则自成一体，奕奕有晋宋人风气。元初的赵孟頫学晋唐，书风流美圆润，而倪瓒则由三国魏锺繇〈荐季直表〉入手，面貌高古冷逸，无一丝俗尘。本幅字体瘦劲，造型稍扁，但结字甚紧，笔画尾端强调隶书的波磔动作，将隶书的趣味和张力与楷书结合，本幅为「元人法书」册之二。 内容简介（中文）： 倪瓒（西元一三0一－一三七四年），江苏无锡人。字元镇，号云林、迂翁。性俊爽，雅厚敦行，工山水竹石，为元四大家之一。其翰札奕奕有晋宋人风气，书史谓瓒书从隶入，辄在锺繇荐季直表中夺舍投胎，古而媚，密而疏，冷逸荒率，如诗中之渊明。本幅书风天然古澹，无一点俗尘，是倪书之佳构。本幅为「元人法书」册第二开。 内容简介（中文）： 倪瓒（西元一三0一年－一三七四年），江苏无锡人，字元镇，号云林，山水风格简淡，为元四大家之一。他的书法则自成一体，奕奕有晋宋人风气。元初赵孟頫书学晋唐，书风流美圆润，而倪瓒则由三国魏锺繇〈荐季直表〉入手，面貌高古冷逸，无一丝俗尘。本幅字体瘦劲，造型稍扁，但结字甚紧，笔画尾端强调隶书的波磔动作，将隶书的趣味和张力与楷书结合。(20100406) 内容简介（英文）： Ni Zan (native to Wuxi, Jiangsu) had the style name Yuanzhen and the sobriquet Yunlin. With his simple and plain landscape style, he became one of the Four Yuan Masters. His calligraphy, in a style of its own, radiates the aura of Jin and Song masters. In the early Yuan, Zhao Mengfu studied Jin and Tang styles to form a fluid and rounded manner, but Ni Zan looked to the “Recommendation for Jizhi” by Zhong You of the Three Kingdoms (Wei) for inspiration, forming a lofty and archaic elegance without a hint of worldliness. The characters here are thin yet strong, the forms slightly flattened. The structure is tight, the stroke ends emphasizing wavelike movements in clerical script. Ni thus combined the style of clerical script with the tension of regular script.(20100406) 内容简介（英文）： Ni Tsan (style name; Yuan-chen, sobriquets; Yun-lin, Yu-weng) was a native of Wu-hsi, Kiangsu. His personality was extraordinarily gifted, elegant, and sincere. He was good at depicting landscapes and bamboo with rocks and was later known as one of the Four Masters of the Yuan. His letters have, with alterations, the atmosphere of the styles of Tsin (317-420) and Sung (960-1279) period calligraphers. In the history of calligraphy, Ni Tsan's style was described as having derived from clerical script. Through Ni Tsan's repeated and faithful rendering of Chung Yu's (151-230) style, Ni was able to imitate the style so well that his could be mistaken for the other. Ni's style is archaic yet graceful and dense yet sparse. Its spirit is aloofly untrammeled and desolate like that of the famous poet T'ao Yuan-ming (372-427). The style of this piece is natural and archaistic without a trace of banality and is an excellent example of Ni Tsan's calligraphy. 内容简介（英文）： Ni Tsan was a native of Kiangsu noted in painting for a pure and remote landscape style and as one of the Four Great Yuan Masters. His calligraphy was likewise unique and reflected ancient origins. Chao Meng-fu's study of Chin and T'ang calligraphy in the early Yuan produced a style fluid and rounded. Ni Tsan, however, adopted aspects of the Chung Yu style for his lofty, ethereal, and untrammeled manner. The characters in this work are thin yet solid and forceful, and the forms slightly flat. They are compact with the ends of the strokes emphasizing the downward force of clerical script. He combined the style and tension of clerical script with standard script. This is the second leaf from Album of Yuan Calligraphy.