千文册高清图

千文册是中华珍宝馆收录的书法，作者：赵构，年代：南宋。《高宗千文册》是宋高宗赵构所书写的《千字文》，该作品展现了赵构在真、行、草书方面的深厚造诣。其笔法洒脱婉丽，自然流畅，颇得晋人神韵，被明代陶宗仪《书史会要》誉为‘高宗善真、行、草书，天纵其能，无不造妙’。这幅作品代表了南宋书法的高水平，对南宋书坛产生了深远影响。（珍小宝撰文）可在线欣赏千文册高清图并进行超高清缩放查看。

作者: 赵构
年代: 南宋
年代详情: 南宋时期（1107-1187年间）
尺寸: 38.5x43.6
收藏机构: 台北故宫博物院
著录: 参考资料：石渠宝笈初编（养心殿），上册，页460 参考资料：故宫书画录（卷三），第一册，页22 参考资料：故宫历代法书全集，第十册，页112-135、207-208 参考资料：此作书于朱丝栏纸本上，《石渠宝笈》定为宋高宗书，然应为御书院书家所书，写于绍兴二十三年（1153）。此册避讳处甚多，例如第六行「敬」字缺末笔，乃是避宋太祖赵匡胤之祖父赵敬。全册线条粗细变化明显，颇类〈集字圣教序〉，用笔亦皆精熟流畅，结体略偏瘦长，字形优美，带有浓厚的古典气息，反映出宋高宗所提倡的复古书风。参考资料： The authors of the Qing dynasty imperial catalogue Treasured Boxes of the Stone Moat (Shiqu baoji) attributed this work on red-lined paper to the Song emperor Gaozong (personal surname Zhao). Done in 1153, it appears instead to have come from the hand of a member of his Calligraphy Academy. The calligrapher observed many taboo characters in this album, including “jing 敬” in the sixth line that is missing its last stroke. This observes the taboo character in the personal name of Zhao Jing, the grandfather of Zhao Kuangyin (the founding emperor of the Song dynasty, Taizu). The lines throughout the album reveal clear distinctions in thickness similar to those in “Preface of Collected Characters for the Sacred Teaching.” The brushwork here is also adept and fluid, while the character forms are slightly thin and elongated. The elegant characters are also strongly archaic, reflecting the revivalist calligraphy promoted by Emperor Gaozong. 参考资料：千字文相传起于南北朝之际，代代流传下来，除了作为童蒙阶段识字教本之外，同时与书艺结下不解之缘。此册行书千文，文后详明书写年代、地点，却未见书者具名，从结体、笔法均与唐怀仁〈集王书圣教序〉相近看来，作者当属绍兴年间御书院中任职人员。由于宋人讲求避讳，其中一部分字目书写时因而阙略笔画，或者用其他字目代替，文句于是与常见的千文内容稍有不同。(20101015) 参考资料： The “Thousand-Character Essay” began circulating in the interval between the Northern and Southern Dynasties. Passed down through the generations, it not only was used as a primer for instructing children, it also has been closely associated with the art of calligraphy. This album version of the essay in running script has a specific date (1153) and place of production indicated at the end, but no name of the calligrapher. Judging from the similarity of the character structure and brushwork to Huairen’s “Collected Wang [Xizhi] Characters for the Sacred Teachings Preface” of the Tang dynasty, the calligrapher here probably served in the Imperial Calligraphy Academy of the Shaoxing era under Emperor Gaozong. Since taboo characters were observed in the Song dynasty, a stroke in part of such a character would be omitted by the calligrapher or another character substituted, resulting in the contents here being slightly different from the “Thousand-Character Essay” commonly seen.(20101015) 参考资料：1.〈宋御书院书千字文〉，收入何传馨、陈阶晋、侯怡利主编，《五体千字文选辑》（台北：国立故宫博物院，2010年六月出版一刷），页27。 2.何炎泉，〈千字文概论〉，收入何传馨、陈阶晋、侯怡利主编，《五体千字文选辑》（台北：国立故宫博物院，2010年六月出版一刷），页176-188。 3.王竞雄，〈千文〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页342-343。
释文: 《千字文》的完整内容

在线欣赏千文册高清图