书体:

行书

色彩:

装裱形式:

册(蝴蝶装)

创作时间:

元顺帝至正二十一年（1361）

文字类型:

汉文

质地:

本幅纸

释文:

晚节堂诗为竹洲仙母赋。许姥塘东馀姥宅。高年七十见孤风。半生闭户机杼老。二子读书灯火同。大儿学仙类耽子。小儿力仕如终童。瑶池春酒介眉寿。阿母蟠桃千岁红。至正辛丑（西元1361年）春三月十有二日铁笛道人在清真之竹洲馆试奎章赐墨书。

印记资料:

作者印记：杨维祯印
作者印记：廉夫
作者印记：铁笛道人
作者印记：清白传家
作者印记：九山白云居
收传印记：天籁阁
收传印记：项叔子（重一）
收传印记：项子京家珍藏
收传印记：项墨林鑑赏章
收传印记：檇李项氏士家宝玩
收传印记：项元汴印
收传印记：寄敖
收传印记：子孙永宝
收传印记：项墨林父秘笈之印
收传印记：周锡圭印
收传印记：锡圭私印
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 参考书目： 1.王耀庭，〈元杨维祯晚节堂诗〉，收入王耀庭主编，《传移模写》（台北：国立故宫博物院，2007年初版），页106-107。 内容简介（中文）： 杨维祯（西元一二九六－一三七0年），浙江绍兴人，字廉夫，号东维子、铁笛道人。三十二岁及进士第，署天台尹，以狷介故，为黠吏陷，遂免官，往来苏松一带。然心系国事，曾上〈正统辩〉，为时所赏，后复官，会四海兵乱，遂泯迹江浙间。晚年居松江，因其学问文章气节而来从学者众。其文放逸险绝，称铁崖体，书风亦狂怪清劲，与文风相类。本幅为六十六岁时书，时杨氏已定居松江数载，常于斋中与友人门生瀹茗品酒，试新笔佳墨，赏题字画。此诗即用奎章赐墨所书，下笔力透纸背，老辣之甚。 内容简介（中文）： 杨维祯（西元一二九六－一三七0年），浙江绍兴人，字廉夫，号东维子、铁笛道人。三十二岁及进士第，署天台尹，以狷介故，为黠吏陷，遂免官，往来苏松一带。然心系国事，曾上〈正统辩〉，为时所赏，后复官，会四海兵乱，遂泯迹江浙间。晚年居松江。本幅六十六岁（一三六一年）书，用奎章赐墨。时杨氏定居松江数载，常与友人门生瀹茗品酒，试新笔佳墨，赏题字画。(20100406) 内容简介（英文）： Yang Weizhen (style name Lianfu; sobriquet Tiedi daoren) was a native of Shaoxing, Zhejiang. A Presented Scholar at 32, he was an official in Tiantai. With his honest and stalwart personality, he ran afoul of officials, who set him up and relieved him of office. He retired to the Suzhou-Songjiang area. Still interested in politics, he submitted an essay on legitimacy. Rewarded with office again, rebellions cut short the Yuan and his career as he later settled in Songjiang. Yang’s calligraphy was wild, pure and forceful. He did this work in 1361 with ink given by the court after settling in Songjiang for several years. He spent his time with friends and disciples enjoying tea and wine. With new brushes and fine ink, he often appreciated painting and calligraphy.(20100406) 内容简介（英文）： Yang Wei-chen (style name Lien-fu; sobriquets Tung-wei-tzu, T'ieh-ti-tao-jen) was a native of Shao-hsing, Chekiang. He served as an official in T'ien-t'ai. Because of his stubborn, rash, and straightforward personality, he often encountered difficulties with officials. He eventually gave up officialdom and went to Suchou and Sung-chiang. However, still interested in politics, he submitted an essay on orthodoxy and legitimacy (Cheng-t'ung pien). For this, he received much praise and once again became an official. Late in life, he settled in Sung-chiang. Because of his erudition, his literary output, and his moral integrity, he attracted many students. His literary style is daring and risky, and his calligraphy is equally wild and strange. Yang Wei-chen wrote this ode on high quality paper with good ink when he was sixty-six after he had settled in the Sung-chiang area. His well-practiced brushstrokes seem so strong that they might almost have penetrated the surface of the paper.