【国画基本信息】
| 作者 | 王铎 |
| 品名 | 书集句册 |
| 朝代 | 清代 |
| 文件大小 | 144.09MB |
| 分辨率 | 300x300 |
| 像素大小 | 2120x2832 |
| 尺寸（CM） | 17.94x23.97 |
| 创作时间 | 清世祖顺治六年（1649） |
| 作品数量 | 8 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 书法 |
| 品名 | 清王铎书集句 册 |
| 分类 | 法书 |
| 作者 | 王铎 |
| 书体 | 草书 |
| 创作时间 | 清世祖顺治六年（1649） |
| 数量 | 一册：八开（本幅八开八幅） |
| 作品语文 | 汉文 |
| 释文 | （第一则）问菊新诗手自携。时将邻叟话幽栖。浊醪最称看山醉。不省归时不似泥。刘禹锡。李昌符。郑谷。曹唐。王铎书。（第二则）步兵废厨酒犹香。尽日倾心羡索郎。唯拟腾腾作闲事。四肢安稳一张床。许浑。皮日休。白居易。卢仝。王铎书。（第三则）榾柮垆前拥布裘。身名且被外人愁。樽中酒色恒宜满。吟对金陵晚渡头。韦庄。李端。谢偃。崔涂。孟津王铎。（第四则）当垆仍是卓文君。花柳留欢夜漏分。光景暗消银烛下。坐令双鬓老如云。李商隐。许浑。韦庄。皇甫林。西雒王铎。（第五则）家酝提携动辄随。遮渠不道是吴儿。江湖酒伴如相问。一盏烦君不用辞。白居易。贺知章。杜牧。元稹。烟潭渔叟王铎。（第六则）不拣花朝与雪朝。兴来酒席坐通宵。芳罇细浪倾春绿。但是愁人傁与销。李商隐。白居易。温庭筠。元稹。 烟潭渔叟偶书。（第七则）一杯莫笑便陶然。愁破方知酒有权。乡曲近来佳此味。相逢不乏杖头钱。白居易。郑谷。贺知章。贺兰进名。觉斯书。（第八则）长合教山在眼前。朝朝沈醉引金船。高歌酒市非狂者。世上多疑是谪仙。李洞。韦庄。罗隐。张籍。旧有集唐饮酒截句四十首。值栎翁出素幅。索书。因忆录其八。己丑（公元一六四九年）冬仲王铎书。 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 26.4x18 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 签 | 封面 | 行楷书 | 王铎书集句 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈初编（养心殿），上册，488页 |
| 收藏着录 | 故宫书画录（卷八），第四册，页19 |
| 内容简介（中文） | 王铎（一五九二至一六五二年），字觉斯，号嵩樵，河南孟津人。天启进士，累擢礼部尚书，卒谥文安。秉性博学好古，工诗文，善画山水、兰、竹、梅石，兼善书，笔势纵逸险劲，无声诗史称其「行草书宗山阴（王羲之）父子，正书出自钟元常，虽模范钟王，亦能自出胸臆」。尝自刻「拟山园石刻」，诸礼悉备。 |
| 内容简介（英文） | A Seven-word poem Wang To (1592-1652) Ch’ing dynasty. Wang To’s style name was Chűeh-szu, his sobriquet Sung-ch’iao. He was a native of Meng-chin in Honan province. He entered the government service in the last years of the Ming dynasty, and continued to serve when the Ch’ing dynasty organized its administration. As an artist, Wang To was extremely versatile. He had a broadly based background in classical studies and was an essayist and poet. In addition to his calligraphy, he is known for landscapes, orchids, bamboo, plum blossoms, and rocks. His brush moved with freedom and force. The Wu-sheng Shih-shih says, “His semi-cursive and cursive style characters are in the tradition of the Wang-Hsi-chih and Wang Hsieh-chih and his standard script is derived from that of Chung Yao. Even though his work is primarily based on these two masters, his own genius is everywhere evident.” Drawing on his own resources, he had his version of the “Ni-shan-yűan” engraved on stone. This piece contained all the major calligraphic styles. |
