元趙孟頫書閒居賦 卷
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- 資料識別：
- 故書000080N000000000
- 資料類型：
- 類型:書法
- 型式:文字
- 著作者：
- 趙孟頫
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 38x248.3公分、拖尾 39.3x76.7公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁912&*故宮書畫錄（卷一），第一冊，頁77&*趙孟頫（西元一二五四－一三二二年），吳興人。字子昂，號松雪道人。宋亡，家居力學，侍御史程鉅夫奉詔搜訪遺逸，以孟頫入見。官至翰林學士承旨，封魏國公，諡文敏。孟頫詩文清遠，有松雪齋集行世。 宋之末年，書學不振，孟頫提倡復古，影響當代甚鉅。其書凡三變，初臨思陵，中年學鍾繇及羲獻，晚乃學李北海。閒居賦乃其晚年之作，結體整飭，行間疏朗，為深受李北海影響之作品。&*Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsueh tao-jen) was a native of Wu-hsing, Chekiang. After the fall of the Sung dynasty, Chao lived at home and studied diligently. The Attendant Censor Ch'eng Chu-fu was commanded by the Yuan emperor to seek out the reclusive scholars from the former Sung, and he returned to the emperor with Chao Meng-fu. Chao then served as scholar in the Han-lin Academy. He was later enfeoffed as the Duke of Wei and was posthumously granted the title of Wen-min. Chao was a master of painting and calligraphy, and his poetry and prose were excellent. By the end of the Sung dynasty, there were few new calligraphic innovations. Chao advocated a return to antiquity and exerted profound influence on later generations. Chao's calligraphy underwent several changes. In his early years he imitated the style of Sung emperor Kao-tsung, during his middle period he studied the styles of Chung Yu, Wang Hsi-chih, and Wang hsien-chih, and in his late years he followed the style of Li Pei-hai. This fu poem is a work of Chao's late years. The structure of the characters are orderly, and the space between lines appears very open, demonstrating the deep influence of Li Pei-hai. &*趙孟頫（西元一二五四－一三二二年），吳興人。字子昂，號松雪道人。宋亡，家居力學，侍御史程鉅夫奉詔搜訪遺逸，以孟頫入見。官至翰林學士承旨，封魏國公，謚文敏。孟頫詩文清遠，有《松雪齋集》行世。 宋朝末年，書學不振，孟頫提倡復古，影響當代甚鉅。其書凡三變，初臨思陵（宋高宗），中年學鍾繇及羲獻，晚乃學李北海。〈閒居賦〉乃其晚年之作，結體整飭，行間疏朗，深受李北海之影響。(20091015) &* Zhao Mengfu (native of Wu; sobriquet Songxue daoren) was related to the Song imperial clan but accepted service under the Mongol Yuan dynasty. He was a Hanlin Academician, enfeoffed as Duke of Wei, and posthumously titled Wenmin. His writing was pure and lofty, as seen in his Collection of the Songxue Studio. In the late Song, the study of calligraphy declined, so Zhao advocated a return to antiquity, thus influencing his generation. His calligraphy went through 3 stages: first copying the style of the Song emperor Gaozong, then in middle years studying Zhong You and the Two Wangs, and then later the style of Li Beihai (Yong). In this later work, the characters are neat and tidy, the line spacing clear and even, revealing the influence of Li Yong.(20091015)&*1.侯怡利，〈元趙孟頫書閒居賦〉，《故宮文物月刊》，第300期（2008年3月），頁12-13。
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
