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行书色彩:
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汉文质地:
本幅纸隔水一绢隔水二绢拖尾纸释文:
松风阁。依山筑阁见平川。夜阑箕斗插屋椽。我来名之意适然。老松魁梧数百年。斧斤所赦令参天。风鸣娲皇五十弦。洗耳不须菩萨泉。嘉二三（以上二字原倒置）子甚好贤。力贫买酒醉此筵。夜雨鸣廊到晓悬。相看不归卧僧毡。泉枯石燥复潺湲。山川光晖为我妍。野僧早（早字点去）旱饥不能饘。晓见寒溪有炊烟。东坡道人已沈泉。张侯何时到眼前。钓台惊涛可昼眠。怡亭看篆蛟龙缠。安得此身脱拘挛。舟载诸友长周旋。印记资料:
鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：题跋；作者：向冰拖尾嘉定壬申（西元一二一二年）重午后四日。寀林道人向冰敬跋。；书体：行书；全文：宣惠堂帖有涪翁所书宿鰕湖诗。后云。女奴辈皆鼾寐无为和墨者。故尽用一池淡墨。又尝在湖湘间用鸡毛笔。亦堪作字。盖前辈能书者。亦有时而乘兴。不择佳笔墨也。此松风阁诗乃晚年所作。笔墨虽不相副。岁久光采差退。然书灋具存。章章乎羲献父子之间。当有识者。嘉定壬申（西元一二一二年）重午后四日。寀林道人向冰敬跋。印记：（不可辨）主题:
技法:
参考资料:
收藏着录： 石渠宝笈续编（御书房），第四册，页1919-1921 收藏着录： 故宫书画录（卷一），第一册，页50-53 收藏着录： 宋代花笺特展，页166-193、228 参考书目： 1.朱惠良，〈宋黄庭坚自书松风阁诗〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页30-33。2.何传馨，〈黄庭坚松风阁诗〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页389- 392。3.王竞雄，〈黄庭坚自书松风阁诗〉，收入石守谦、葛婉章主编，《大汗的世纪:蒙元时代的多元文化与艺术》（台北：国立故宫博物院，2001年初版），页290。4.朱惠良，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页26-27。5.朱惠良，〈宋黄庭坚松风阁诗〉，《故宫文物月刊》，第100期（1991年7月），页105。6.王竞雄，〈大汗的世纪 黄庭坚自书松风阁诗〉，《故宫文物月刊》，第223期（2001年10月），页12-13。7.张光宾，〈故宫博物院收藏法书与碑帖〉，《故宫季刊》，第九卷第三期（1975年春），页5-19。8.黄兰燕，〈潇湘：中国谪迁文人的文化原型〉，《议艺份子》，第4期(2002年3月)，页1-24。9.王竞雄，〈宋黄庭坚自书松风阁诗〉，收入蔡玫芬主编，《精彩一百 国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页212。 内容简介（中文）： 崇宁元年（1102）八月顷，黄庭坚游武昌（湖北鄂州）西山，途经名胜「松风阁」等处，因有感而发，遂自书七言古诗一首，借以表达希望解脱现实羁绊，与怀念友人的心境。全卷书写于不易吸墨的砑花粉笺之上，用笔却仍见劲健，造型长波大撇，结体紧密瘦长，是晚年风格的代表作。 黄庭坚（1045－1105）字鲁直，号涪翁、山谷道人，江西分宁人。他擅长于诗文、书法，和苏轼、米芾、蔡襄并列为北宋四大书家。(20061206) 内容简介（中文）： 黄庭坚（1045－1105），字鲁直，号山谷道人，洪州分宁（今江西修水）人。父祖均长于诗文，重视儒学修养，治平四年进士及第后步入宦途，得有机缘与张耒等人游学苏轼门下。哲宗绍圣年间，却因朝中新旧党派失和，苏轼遭遇排挤，黄庭坚不幸牵连在内，面临贬谪的命运。崇宁元年（1102）行经武昌时，完成「松风阁」诗作，书法以柳公权为基底，行笔涩劲，苍老有如长松伸展，世推为黄氏行楷书代表作。(20110913) 内容简介（中文）： 黄庭坚（西元一０四五－一一０五年），字鲁直，号山谷道人，洪州分宁（今江西省修水）人。他是北宋的大诗人，也和苏轼、米芾、蔡襄同为北宋四大书家。北宋诗文书画在文人提倡下，崇尚清新自然，大书法家均一反唐楷严整的格律，转而追求个人创作的自由，黄庭坚尤为个中翘楚。他的行楷书结构充分发挥倾侧之美，线条夸张而有馀韵，笔力圆劲，尤其一波三折的顿挫功夫，令人玩味不尽。 内容简介（英文）： Huang T'ing-chien, a native of Kiangsi province, was a great poet of the period and ranked along with su Shih, Mi Fu, and Ts'ai Hsiang as one of the Four Northern Sung Masters of Calligraphy.Northern Sung scholar-officials advocated purity and naturalness in the arts of poetry, prose, calligraphy, and painting. Calligraphers reiected the strict, formal qualities of T'ang standard script and searched for freedom in individual expression and creativity. Huang was one of the most outstanding among them. His semi-standard script clearly reveals the beauty of slanting strokes. His lines are exaggerated yet harmonious,while the brushwork is rounded and strong, especially where the strokes stop and start in his unique "trembling" style. 内容简介（英文）： Huang Tingjian (style name Luzhi; sobriquets Fuweng and Shangu daoren) was a native of Hongzhou in Fenning (modern Xiushui, Jiangxi). His father and grandfather both excelled at poetry and prose, emphasizing cultivation in Confucian studies. Huang Tingjian passed the imperial examinations and became a Presented Scholar in 1067, embarking on his career as an official while also having the opportunity to study under Su Shi with Zhang Lei and others. In the Shaosheng era (1094-1098) of Emperor Zhezhong, due to discord between the new and old factions at court, Su Shi was singled out and banished. Huang Tingjian, through association with him, also suffered the fate of exile. In 1102 while passing through Wuchang, Huang completed the poem on “Hall of Pines and Wind.” The calligraphy is based on that of Liu Gongquan, the running brushwork jolting in force and the hoary quality like that of a tall pine reaching upwards. As a result, this work became known among generations as representative of Huang’s semi-regular script. (20110913) 内容简介（英文）： Huang T'ing-chien, style name Lu-chih and sobriquets Fu-weng and Shan-ku tao-jen, was a native of Fen-ning, Kiangsi. He specialized in poetry and prose as well as calligraphy, being known in the latter along with Su Shih, Mi Fu, and Ts’ai Hsiang as one of the Four Masters of the Northern Sung. In the eighth lunar month of 1102, Huang T'ing-chien took a trip to the Western Mountain at Wu-ch’ang (modern O-chou, Hupeh), along the way visiting such famous sites as the “Hall of Pines and Wind”. Moved by the occasion, he calligraphed his own seven-character archaic verse, through which he expressed a desire for relief from his present predicament and a longing for his friends. The handscroll was calligraphed on joined pieces of paper with impressed designs that did not absorb the ink very well, yet the brushwork still reveals the strength of his calligraphy, the elongated wave-like features of certain strokes, and the compact and elongated characters. Thus, it is a representative work of Huang T'ing-chien's later style.(20061206) 网页展示说明 黄庭坚（1045－1105），字鲁直，号山谷道人，洪州分宁（今江西修水）人。父祖均长于诗文，重视儒学修养，治平四年进士及第后步入宦途，得有机缘与张耒等人游学苏轼门下。元祐年间，却因朝中新旧党派失和，苏轼遭遇排挤，不幸牵连在内，面临贬谪的命运。崇宁元年（1102）行经武昌时，完成「松风阁」诗作，书法以柳公权为基底，行笔涩劲，苍老有如长松伸展，世推为黄氏行楷书代表作。(20110913) 网页展示说明 黄庭坚（1045？1105）字鲁直，号涪翁，江西分宁人。二十三岁中进士，历任汝州（河南）叶县县尉、北京国子监教授、秘书省校书郎等职。长于行书和草书，与蔡襄（1012？1067）、苏轼（1036？1101）、米芾（1051？1108）合称「宋四大家」。 崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，作了这首「松风阁」的诗，歌咏当时所看到的景物，并表达对朋友的怀念。这件书蹟长波大撇，提顿起伏，一波三折，像是船夫摇桨用力的样子。不论收笔、转笔，都是楷书的笔法，下笔平和沉稳，变化非常含蓄，轻顿慢提，婀娜稳厚，意韵十足。在后段提到前一年已去世的苏轼时，心中不免激动，笔力特别凝重，结字也更加倾侧，是尚意书风的典型。 网页展示说明 Huang T'ing-chien, a native of Kiangsi province, was a great poet of the period and ranked along with Su Shih, Mi Fu, and Ts'ai Hsiang as one of the Four Northern Sung Masters of Calligraphy. Northern Sung scholar-officials advocated purity and naturalness in the arts of poetry, prose, calligraphy, and painting. Calligraphers rejected the strict, formal qualities of T'ang standard script and searched for freedom in individual expression and creativity. Huang was one of the most outstanding among them. His semi-standard script clearly reveals the beauty of slanting strokes. His lines are exaggerated yet harmonious, while the brushwork is rounded and strong, especially where the strokes stop and start in his unique "trembling" style.
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/北宋 黄庭坚 松风阁诗(原版)纸本32.8x219.2北京故宫.jpg!w300?_upt=24c429231738496488)
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