- 565
蘇軾 1037-1101
估價
估價待詢
Log in to view results
招標截止
描述
- Su Shi
- 功甫帖
- 水墨紙本 立軸
款識：
蘇軾謹奉別功甫奉議。
題跋：
（翁）（一）蘇文忠別功甫帖，不著歲月。《宋史•本傳》載郭功甫仕蹟與《東都事略》不同。近日歷樊榭《宋詩紀事》小傳云：「元豐中知端州，元祐初階至朝請大夫，請老帰。」予考《東坡集》有郭祥正覃恩轉承議郎勅云：「朕丕承六朝，陳錫四國。」此是哲宗元祐初也。《宋史•文苑傳》：「熙寧中從章惇察訪辟，以殿中丞致仕，後復出通判汀州。知端州，又棄去。隱於青山，卒。」予嘗於端州石室得功甫手題云：「元祐戊辰（1088）二月廿有八日，當塗郭祥正子功來治州事。」即明年，以其日上書乞骸骨，此是元祐四年（1089）請老歸。則所謂元豐中知端州，元佑初以朝請大夫、請老歸者皆失之矣。此蹟稱「奉議」，宋時職官第二十四階奉議郎，正是殿中丞之秩。則是元祐初以譚恩再轉承議郎，迺出汀、端耳。章惇，熙寧初以王安石秉政，用為湖南北察訪使，亦正與《郭傳》熙寧中知武岡縣僉書保信軍節度判官相合也。坡公集中與郭功甫尺牘五首，皆倅杭時作。先生以熙寧四年（1071）十一月到杭州通判任，正是功甫以奉議郎致仕之時。則此蹟黨在熙寧四、五年間，坡公年三十六、七時也。神采奕奕，照映古今，信蘇書中神品，亦所謂兩行可壓三萬籖者邪！秋史侍郎持以見示，爰為考其大略，識於其後而附綴以詩。時乾隆五十五年（1790）秋九月十有二日，北平翁方綱書於寶蘇齋。
（二）公與子功別何處，想在通守餘杭年。殷勤玉札敘踈闊，稍涼倏到風學前。何人傳會醉吟壁，一碁玉局琳房仙。七星巖口字待勒，謝家莊上圖未傳。槎枒怒墨吐竹石，江海起立雲雷𢭀。此別又在前十載，酒腸已作芒森然。兩髯相對欝奇氣，劍光舞合雙龍纏。兩餅新茶小蒼壁，一圭賜墨虬松烟。米老揮毫笑對案，與可墨君來餞筵。豈知別緒不多語，驪珠九顆清而圓。沙邊誰子弄明月，翻風雪雀飛帖天。前身共作蓬萊住，青山那必尋青蓮。一壺九華竟誰得，十年萬里非世緣。三兩黃鸝要領取，千峯陣馬紛洄㳂。且來蘇齋鑒真面，嵩陽帖已昏粉箋。今年謀作畫卷供，雲龍山下烹惠泉。二鶴亭邊想醉筆，亦似醉吟姑執篇。枯株蒼茫畫天地，此腕氣可逥山川。留影又著蘇齋壁，夜潮夢艤浮玉船。秋光八月蕩瑤海，雨餘參透梅子禪。方綱。
（三）先生畫竹石於郭功甫壁在元豐七年甲子（1084），功甫自端州請老帰在元佑四年己巳（1089）。查初白《蘇軾補注》，以為功甫請老歸後，東坡畫竹石於醉吟庵者，未詳考也。方綱又記。
（許）（一）坡公《功甫帖》樸茂雄強，筆法從分隸中來。生平所見公書，以此帖為第一。帖經項子京、安儀周、江秋史諸公藏𡗳。子京藏時之副頁亦宋楮，翁覃谿為秋史作詩跋即題於此紙上。小楷遒勁而寬博，恢恢乎遊刃有餘地也。其考據精審，固應俯視一切。油箋雙鉤一本，亦覃谿先生手撫，神妙等於真跡。余得於英煦齋先生後人處，遠勝楊惺吾先生刻本，爰合裝之。癸巳（1953）嘉平月，許漢卿記於申庽之聖廣齋室，時七十一歲。「聖」即聖，武則天所造字。「廣」即廣，後周郭威所造。余有此二泉，俱奇品。戲以二字名吾室。「聖」字見《宣和書譜》，「廣」字見陽山摩崖廣順二年薛君題名。漢卿又記。
（二）去冬題數行於右時，忽患頭目暈眩，欹斜不能成字。衰老之弊，不禁憮然，今小愈復記。甲午（1954）花朝，漢卿。
（三）坡僲墨皇，覃老精蹟。皆人間之至寶。甲午（1954）仲春，展示又記。
（四）舊藏「子瞻」宋犀角印附綴於此。甲午（1954）春日，漢卿。
鈐印：
（翁）寶蘇室（二鈐）、翁方綱、覃谿
（許）許氏漢卿珍藏（二鈐）、漢卿之印、子瞻（許藏犀角印）、晨風閣、漢卿、改翁
藏印：
（項）子京、攜李項氏世家寶玩、項叔子
（安）安儀周家收藏
（江）江德量鑒藏印、德、量、江秋史
（張）張鏐
（英）煦齋新購（鈐於翁方綱雙鉤本上）
另有四半印不可全辨
蘇軾謹奉別功甫奉議。
題跋：
（翁）（一）蘇文忠別功甫帖，不著歲月。《宋史•本傳》載郭功甫仕蹟與《東都事略》不同。近日歷樊榭《宋詩紀事》小傳云：「元豐中知端州，元祐初階至朝請大夫，請老帰。」予考《東坡集》有郭祥正覃恩轉承議郎勅云：「朕丕承六朝，陳錫四國。」此是哲宗元祐初也。《宋史•文苑傳》：「熙寧中從章惇察訪辟，以殿中丞致仕，後復出通判汀州。知端州，又棄去。隱於青山，卒。」予嘗於端州石室得功甫手題云：「元祐戊辰（1088）二月廿有八日，當塗郭祥正子功來治州事。」即明年，以其日上書乞骸骨，此是元祐四年（1089）請老歸。則所謂元豐中知端州，元佑初以朝請大夫、請老歸者皆失之矣。此蹟稱「奉議」，宋時職官第二十四階奉議郎，正是殿中丞之秩。則是元祐初以譚恩再轉承議郎，迺出汀、端耳。章惇，熙寧初以王安石秉政，用為湖南北察訪使，亦正與《郭傳》熙寧中知武岡縣僉書保信軍節度判官相合也。坡公集中與郭功甫尺牘五首，皆倅杭時作。先生以熙寧四年（1071）十一月到杭州通判任，正是功甫以奉議郎致仕之時。則此蹟黨在熙寧四、五年間，坡公年三十六、七時也。神采奕奕，照映古今，信蘇書中神品，亦所謂兩行可壓三萬籖者邪！秋史侍郎持以見示，爰為考其大略，識於其後而附綴以詩。時乾隆五十五年（1790）秋九月十有二日，北平翁方綱書於寶蘇齋。
（二）公與子功別何處，想在通守餘杭年。殷勤玉札敘踈闊，稍涼倏到風學前。何人傳會醉吟壁，一碁玉局琳房仙。七星巖口字待勒，謝家莊上圖未傳。槎枒怒墨吐竹石，江海起立雲雷𢭀。此別又在前十載，酒腸已作芒森然。兩髯相對欝奇氣，劍光舞合雙龍纏。兩餅新茶小蒼壁，一圭賜墨虬松烟。米老揮毫笑對案，與可墨君來餞筵。豈知別緒不多語，驪珠九顆清而圓。沙邊誰子弄明月，翻風雪雀飛帖天。前身共作蓬萊住，青山那必尋青蓮。一壺九華竟誰得，十年萬里非世緣。三兩黃鸝要領取，千峯陣馬紛洄㳂。且來蘇齋鑒真面，嵩陽帖已昏粉箋。今年謀作畫卷供，雲龍山下烹惠泉。二鶴亭邊想醉筆，亦似醉吟姑執篇。枯株蒼茫畫天地，此腕氣可逥山川。留影又著蘇齋壁，夜潮夢艤浮玉船。秋光八月蕩瑤海，雨餘參透梅子禪。方綱。
（三）先生畫竹石於郭功甫壁在元豐七年甲子（1084），功甫自端州請老帰在元佑四年己巳（1089）。查初白《蘇軾補注》，以為功甫請老歸後，東坡畫竹石於醉吟庵者，未詳考也。方綱又記。
（許）（一）坡公《功甫帖》樸茂雄強，筆法從分隸中來。生平所見公書，以此帖為第一。帖經項子京、安儀周、江秋史諸公藏𡗳。子京藏時之副頁亦宋楮，翁覃谿為秋史作詩跋即題於此紙上。小楷遒勁而寬博，恢恢乎遊刃有餘地也。其考據精審，固應俯視一切。油箋雙鉤一本，亦覃谿先生手撫，神妙等於真跡。余得於英煦齋先生後人處，遠勝楊惺吾先生刻本，爰合裝之。癸巳（1953）嘉平月，許漢卿記於申庽之聖廣齋室，時七十一歲。「聖」即聖，武則天所造字。「廣」即廣，後周郭威所造。余有此二泉，俱奇品。戲以二字名吾室。「聖」字見《宣和書譜》，「廣」字見陽山摩崖廣順二年薛君題名。漢卿又記。
（二）去冬題數行於右時，忽患頭目暈眩，欹斜不能成字。衰老之弊，不禁憮然，今小愈復記。甲午（1954）花朝，漢卿。
（三）坡僲墨皇，覃老精蹟。皆人間之至寶。甲午（1954）仲春，展示又記。
（四）舊藏「子瞻」宋犀角印附綴於此。甲午（1954）春日，漢卿。
鈐印：
（翁）寶蘇室（二鈐）、翁方綱、覃谿
（許）許氏漢卿珍藏（二鈐）、漢卿之印、子瞻（許藏犀角印）、晨風閣、漢卿、改翁
藏印：
（項）子京、攜李項氏世家寶玩、項叔子
（安）安儀周家收藏
（江）江德量鑒藏印、德、量、江秋史
（張）張鏐
（英）煦齋新購（鈐於翁方綱雙鉤本上）
另有四半印不可全辨
出版
著錄：
《墨緣彙觀》，安岐，《中國書畫全書》第十四冊，上海書畫出版社，二〇〇九年，638頁
《書畫鑒影》卷十，李佐賢，《續修四庫全書》子部•藝術類，754頁
《復初齋文集》卷廿九，翁方綱，1180頁
《張蔥玉日記•詩稿》，張珩，上海書畫出版社，二〇一一年，130頁
《古書畫過眼要錄》第二冊，晉唐五代宋書法（壹），徐邦達，紫禁城出版社，二〇〇五年，323、324頁
《墨緣彙觀》，安岐，《中國書畫全書》第十四冊，上海書畫出版社，二〇〇九年，638頁
《書畫鑒影》卷十，李佐賢，《續修四庫全書》子部•藝術類，754頁
《復初齋文集》卷廿九，翁方綱，1180頁
《張蔥玉日記•詩稿》，張珩，上海書畫出版社，二〇一一年，130頁
《古書畫過眼要錄》第二冊，晉唐五代宋書法（壹），徐邦達，紫禁城出版社，二〇〇五年，323、324頁
Condition
- Restorations of wormholes can be found on the calligraphy, with minor restorations of ink.
- Paper darkened due to age.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Colophons:
Weng Fanggang: 1. Su Wenzhong’s farewell letter to Gongfu, undated. Songshi: Benzhuan records Guo Gongfu’s career differently than Dongdu shilue. Recently I came across a short biography of Guo Gongfu in Fan Xie’s Songshi jishi: “In the middle of the Yuanfeng reign [1078-1085] he served as Prefect of Duanzhou. Early in the Yuanyou reign [1086-1094] he rose to the position of Grand Master of Court Audience. He subsequently retired from service due to age.” In Dongpo ji I read an “Imperial Order to Promote Guo Xiangzheng to Fengyi lang [Court Gentleman Consultant]”: “We inherit from the six dynasties and bestow upon the four kingdoms.” This was at the beginning of Emperor Zhezong’s Yuanyou reign. Songshi: Wenyuanzhuan records that Guo “followed Zhang Chun in the middle of the Xining reign to inspect the border, serving as Dianzhong zhai [Palace Administrator]. Later he left the palace to become Magistrate of Dingzhou. After rising to become Prefect of Duanzhou, he left office again and recluded in Qingshan, where he passed away.” In a cave in Duanzhou I saw this inscription by Guo Gongfu: “On the twenty-eigth day of the second month in the wuchen year of the Yuanyou reign (1088), Guo Xiangzheng, Zigong, of Dangtu has arrived to manage prefectural affairs.” In the next year he submitted a request to be released from service, and retired in the fourth year of the Yuanyou reign (1089). Therefore Fan Xie’s claim—that Guo Gongfu was Prefect of Duanzhou in the middle of the Yuanfeng reign and became Grand Master of Court Audience and then retired early in the Yuanyou reign—is mistaken. Guo’s position was Court Gentleman Consultant. In the twenty-four ranks of the Song official system, this was precisely the same as Palace Administrator. In other words, early in the Yuanyou reign he left the position of Court Gentleman Consultant, and thereupon left for Dingzhou and Duanzhou. Zhang Chun was promoted as Investigation Commissioner [Chafang shi] in Hunan and Hubei by Wang Anshi early in the Xining reign (1068-1077), which is consistent with Guo Gongfu’s career trajectory as recorded in Wenyuanzhuan. The letters to Guo Gongfu recorded in Su Dongpo’s literary collection were all written during Su’s time in Hangzhou. Su went to Hangzhou to serve as Tongpan [Controller-General] in the eleventh month of the fourth year of the Xining reign (1071), which was when Gongfu was a Court Genteman Consultant. To conclude, Su wrote this letter in the fourth or fifth year of the Xining reign, when he was thirty-six or thirty-seven years old. Spirited and lively, illuminating past and present—it is truly a divine piece of calligraphy by Su Dongpo. These two lines are worth thirty-thousand bamboo strips! In autumn Shi the Attendant Gentleman [Shilang] brought the piece to show me, and so I conducted some general research of its history, wrote it down as an appendix, and composed poetry in its praise. On the second day of the ninth month in autumn in the fifty-fifth year of the Qianlong reign (1790), written by Weng Fanggang of Beiping at Baosuzhai.
2. Master Su, where did you bid Zigong farewell? I suspect in Hangzhou, where you both served. A sympathetic missive, speaking of parting, Suddenly brings a chill to a student of your ways. Who transmitted drunken verses at Red Cliff? An immortal in a gem-filled room faced with a jade chess set. At the mouth of Qixing Grottos, words awaited recording; In Xiejiazhuang paintings were not yet transmitted. Gnarled and furious ink traces generate bamboo and rocks, Rising and falling like seas, swirling like thunder clouds. This parting having occurred ten years ago, Your stomach for wine has been empty. Between two whiskered faces a moody atmosphere lingers, Like a dance of swords and a rumble of dragons. Two biscuits, fresh tea, and a small grey wall; A jade inkpot issues dragon-pine smoke. Elder Mi smiles wielding a brush at his desk, Having come to dine with another expert of ink. Who knows that parting thoughts need few words. But these nine jet-black pearls, all pure and perfect? Who captures the bright moon by the sand bank? Against rough winds snow birds touch the sky. If in previous lives one lived on Penglai Island, Why must one seek pure lotuses on Pure Peak? Nine flowers in a vase--who will obtain them? An otherworldly connection across a decade and ten thousand miles. From a few yellow orioles the essence of calligraphy is derived, Expressed like warhorses on a thousand peaks, like a swirling ravine. Come yet to Su’s studio to meet the real object, The Songyang tie being already obscured by pink paper. This year I intend to make a matching scroll painting, And make tea with Hui Spring’s water on Yunlong Mountain. Thinking of the drunken brush by Two Cranes Pavilion Is like drunkenly chanting the Guzhipian. Dead trees stand in the misty painted universe. The force of this calligrapher’s hand can move mountains and streams. Shadows remain on the wall of Su’s studio. Night dreams are lodged in the floating jade boat. The sea scintillates under the bright mid-autumn moon. After rain I meditate on the Chan of plum blossoms.
Fanggang.
3. The master painted bamboos and rocks on Guo Gongfu’s wall in jiazi the seventh year of the Yuanfeng reign (1084). Gongfu retired from service in Duanzhou in jisi the fourth year of the Yuanyou reign (1089). Zha Chubai in Su Shi buzhu claims that after Gongfu’s retirement, Su Shi painted bamboos and rocks at the Zuiyin’an. This awaits verification. Appended by Fanggang.
Weng Fanggang: 1. Su Wenzhong’s farewell letter to Gongfu, undated. Songshi: Benzhuan records Guo Gongfu’s career differently than Dongdu shilue. Recently I came across a short biography of Guo Gongfu in Fan Xie’s Songshi jishi: “In the middle of the Yuanfeng reign [1078-1085] he served as Prefect of Duanzhou. Early in the Yuanyou reign [1086-1094] he rose to the position of Grand Master of Court Audience. He subsequently retired from service due to age.” In Dongpo ji I read an “Imperial Order to Promote Guo Xiangzheng to Fengyi lang [Court Gentleman Consultant]”: “We inherit from the six dynasties and bestow upon the four kingdoms.” This was at the beginning of Emperor Zhezong’s Yuanyou reign. Songshi: Wenyuanzhuan records that Guo “followed Zhang Chun in the middle of the Xining reign to inspect the border, serving as Dianzhong zhai [Palace Administrator]. Later he left the palace to become Magistrate of Dingzhou. After rising to become Prefect of Duanzhou, he left office again and recluded in Qingshan, where he passed away.” In a cave in Duanzhou I saw this inscription by Guo Gongfu: “On the twenty-eigth day of the second month in the wuchen year of the Yuanyou reign (1088), Guo Xiangzheng, Zigong, of Dangtu has arrived to manage prefectural affairs.” In the next year he submitted a request to be released from service, and retired in the fourth year of the Yuanyou reign (1089). Therefore Fan Xie’s claim—that Guo Gongfu was Prefect of Duanzhou in the middle of the Yuanfeng reign and became Grand Master of Court Audience and then retired early in the Yuanyou reign—is mistaken. Guo’s position was Court Gentleman Consultant. In the twenty-four ranks of the Song official system, this was precisely the same as Palace Administrator. In other words, early in the Yuanyou reign he left the position of Court Gentleman Consultant, and thereupon left for Dingzhou and Duanzhou. Zhang Chun was promoted as Investigation Commissioner [Chafang shi] in Hunan and Hubei by Wang Anshi early in the Xining reign (1068-1077), which is consistent with Guo Gongfu’s career trajectory as recorded in Wenyuanzhuan. The letters to Guo Gongfu recorded in Su Dongpo’s literary collection were all written during Su’s time in Hangzhou. Su went to Hangzhou to serve as Tongpan [Controller-General] in the eleventh month of the fourth year of the Xining reign (1071), which was when Gongfu was a Court Genteman Consultant. To conclude, Su wrote this letter in the fourth or fifth year of the Xining reign, when he was thirty-six or thirty-seven years old. Spirited and lively, illuminating past and present—it is truly a divine piece of calligraphy by Su Dongpo. These two lines are worth thirty-thousand bamboo strips! In autumn Shi the Attendant Gentleman [Shilang] brought the piece to show me, and so I conducted some general research of its history, wrote it down as an appendix, and composed poetry in its praise. On the second day of the ninth month in autumn in the fifty-fifth year of the Qianlong reign (1790), written by Weng Fanggang of Beiping at Baosuzhai.
2. Master Su, where did you bid Zigong farewell? I suspect in Hangzhou, where you both served. A sympathetic missive, speaking of parting, Suddenly brings a chill to a student of your ways. Who transmitted drunken verses at Red Cliff? An immortal in a gem-filled room faced with a jade chess set. At the mouth of Qixing Grottos, words awaited recording; In Xiejiazhuang paintings were not yet transmitted. Gnarled and furious ink traces generate bamboo and rocks, Rising and falling like seas, swirling like thunder clouds. This parting having occurred ten years ago, Your stomach for wine has been empty. Between two whiskered faces a moody atmosphere lingers, Like a dance of swords and a rumble of dragons. Two biscuits, fresh tea, and a small grey wall; A jade inkpot issues dragon-pine smoke. Elder Mi smiles wielding a brush at his desk, Having come to dine with another expert of ink. Who knows that parting thoughts need few words. But these nine jet-black pearls, all pure and perfect? Who captures the bright moon by the sand bank? Against rough winds snow birds touch the sky. If in previous lives one lived on Penglai Island, Why must one seek pure lotuses on Pure Peak? Nine flowers in a vase--who will obtain them? An otherworldly connection across a decade and ten thousand miles. From a few yellow orioles the essence of calligraphy is derived, Expressed like warhorses on a thousand peaks, like a swirling ravine. Come yet to Su’s studio to meet the real object, The Songyang tie being already obscured by pink paper. This year I intend to make a matching scroll painting, And make tea with Hui Spring’s water on Yunlong Mountain. Thinking of the drunken brush by Two Cranes Pavilion Is like drunkenly chanting the Guzhipian. Dead trees stand in the misty painted universe. The force of this calligrapher’s hand can move mountains and streams. Shadows remain on the wall of Su’s studio. Night dreams are lodged in the floating jade boat. The sea scintillates under the bright mid-autumn moon. After rain I meditate on the Chan of plum blossoms.
Fanggang.
3. The master painted bamboos and rocks on Guo Gongfu’s wall in jiazi the seventh year of the Yuanfeng reign (1084). Gongfu retired from service in Duanzhou in jisi the fourth year of the Yuanyou reign (1089). Zha Chubai in Su Shi buzhu claims that after Gongfu’s retirement, Su Shi painted bamboos and rocks at the Zuiyin’an. This awaits verification. Appended by Fanggang.
Xu Hanqing: 1. Master Po’s Gongfu tie is plain and forceful, written with a brush manner derived from bafen and clerical scripts. Among all his calligraphies I have seen, this piece is the best. It passed through the eminent collections of Xiang Zijing, An Yizhou, Jiang Qiushi, and others. When Zijing owned the piece, it was mounted with another leaf of Song paper. The poetry and colophon that Weng Tanxi wrote for Qiushi are on this paper. Weng’s small standard-script calligraphy is energetic and expansive, infused with a feeling of elation. His rigorous research gave him a privileged vintage on everything. The trace copy on paper, also by Master Tanxi, is miraculous like the original. I obtained it from a descendent of the Master of the Yingxuzhai, and it is far superior to Master Yang Xingwu’s printed version. I thus had the trace copy mounted with the original. Written in the twelth month of the guisi year (1953) by Xu Hanqing, aged seventy-one, at Shenyu’s Shengguangzhai.
2. Last winter when I wrote the several lines on the right, I suddenly went into a daze and wrote skewed and illegible characters. I cannot help being saddened by my deterioriation at old age. I write this note now that I have recovered somewhat. On huazhao of the jiawu year (1954), Hanqing.
3. Immortal Po’s kingly ink traces, Elder Tan’s excellent calligraphy—both utmost treasures in the world. Recorded in mid-spring of the jiawu year (1954), after I viewed the work again.
4. Here I append an impression of the Song-dynasty rhinoceros horn seal saying “Zizhan” that I previously owned. Spring of the jiawu year (1954), Hanqing.