印記資料收傳印記 / 漫堂珍賞 / 收傳印記 / 牧仲 / 收傳印記 / 青笠綠蓑齋藏 / 收傳印記 / 商邱宋犖鑒賞
參考資料收藏著錄 / 石渠寶笈三編(延春閣),第六冊,頁2698 / 收藏著錄 / 故宮書畫錄(卷一),第一冊,頁148-152 / 內容簡介(中文) / 袁桷(西元一二六六-一三二七年),慶元人,字伯長。舉茂才異等,起為麗澤書院山長。後以博學陞應奉翰林文字,兼國史院編修官,拜集賢直學士,遷侍講學士。朝廷制冊、勳臣碑銘,多出其手。著有﹝清容居士集﹞、﹝易說﹞、﹝春秋說﹞等,卒封陳留郡公,諡文清。書史謂袁桷書從晉唐中來,而自成一家。
本幅尺牘,筆法快利,筆力沉頓,豎筆斜戈多往右下傾側,字勢則向右上揚起,似受蘇軾書風影響。 / 內容簡介(中文) / 袁桷(西元一二六六-一三二七年),字伯長,慶元(今浙江鄞縣)人。家富藏書,博學好古,為文亦奧雅奇麗。歷官翰林修撰、集賢直學士、翰林侍講。書史謂袁桷書從晉唐中來,而自成一家。本幅尺牘行楷筆腴墨潤,結體矮扁沉穩,近於蘇軾。受書人可能為舉薦袁桷入翰林的程鉅夫(一二四九-一三一八年)。文中提及的「鄧善之」,即鄧文原(西元一二五九-一三二八年)亦為著名書家。
(20121017) / 內容簡介(英文) / Yuan Jue (style name Bochang) was a native of Qingyuan (modern Yinxian, Zhejiang). From a wealthy family with a large library, he was widely learned and fond of antiquity, his writing profound and elegant. He served as Hanlin Provisioner, Jixian Academian, and Hanlin Expositor-in-Waiting. Histories indicate Yuan’s calligraphy derives from Jin and Tang works, forming a style of his own. This letter in semi-standard script features thick brushwork and moist ink, the characters compressed and stable like those of Su Shi. The recipient may have been the high official Cheng Jufu (1249-1318), who had recommended Yuan Jue to the Hanlin. The letter mentions a “Deng Shanzhi,” who is Deng Wenyuan (1259-1328), another famous calligrapher.
(20121017) / 內容簡介(英文) / Yuan Chueh (style name Po-ch'ang) was a native of Ch'ing-yuan. Because he was an extraordinarily talented person, Yuan was recommended to be the Dean of the Li-tse Academy. Later, because of his erudition, he was promoted to be a Provisioner of the Hanlin Academy and Concurrent Junior Compiler of the Historiography Institute. He was then appointed as an Auxiliary in the Academy of Scholarly Worthies and later transferred to the post of Expositor-in-Waiting. He was also enfeoffed as Duke of Ch'en-liu and given the posthumous title Wen-ch'ing. Calligraphy histories record that Yuan's style developed from the styles of the Chin (265-420) and T'ang (618-906) dynasties.
The brush method used to execute this letter was swift and sharp, and the strength of the brush was heavy. Many of the perpendicular and downward strokes often slant to the lower right, and the characters seem to slant up to the right. The style of this work seems to demonstrate the influence of Su Shih (1036-1101)