| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈續編（御書房），第四冊，頁1919-1921
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收藏著錄
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故宮書畫錄（卷一），第一冊，頁50-53
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參考書目
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1.朱惠良，〈宋黃庭堅自書松風閣詩〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁30-33。
2.何傳馨，〈宋黃庭堅自書松風閣詩 卷〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁386-393。
3.王競雄，〈黃庭堅自書松風閣詩〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁290。
4.朱惠良，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁26-27。
5.朱惠良，〈宋黃庭堅松風閣詩〉，《故宮文物月刊》，第100期（1991年7月），頁105。
6.王競雄，〈大汗的世紀 黃庭堅自書松風閣詩〉，《故宮文物月刊》，第223期（2001年10月），頁12-13。
7.張光賓，〈故宮博物院收藏法書與碑帖〉，《故宮季刊》，第九卷第三期（1975年春），頁5-19。
8.黃蘭燕，〈瀟湘：中國謫遷文人的文化原型〉，《議藝份子》，第4期(2002年3月)，頁1-24。
9.王競雄，〈宋黃庭堅自書松風閣詩〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁212。
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參考書目
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陳韻如，〈宋黃庭堅自書松風閣詩 卷〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁18-23、254-256。
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參考書目
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國立故宮博物院編輯委員會，〈宋黃庭堅自書松風閣詩 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁30-33。
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參考書目
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何炎泉，〈宋黃庭堅自書松風閣詩 卷〉，收入《宋代花箋特展》（臺北：國立故宮博物院，2017.12），頁166-193、228。
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內容簡介（中文）
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崇寧元年（1102）八月頃，黃庭堅遊武昌（湖北鄂州）西山，途經名勝「松風閣」等處，因有感而發，遂自書七言古詩一首，藉以表達希望解脫現實羈絆，與懷念友人的心境。全卷書寫於不易吸墨的砑花粉箋之上，用筆卻仍見勁健，造型長波大撇，結體緊密瘦長，是晚年風格的代表作。 黃庭堅（1045－1105）字魯直，號涪翁、山谷道人，江西分寧人。他擅長於詩文、書法，和蘇軾、米芾、蔡襄並列為北宋四大書家。(20061206)
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內容簡介（中文）
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黃庭堅（1045－1105），字魯直，號山谷道人，洪州分寧（今江西修水）人。父祖均長於詩文，重視儒學修養，治平四年進士及第後步入宦途，得有機緣與張耒等人遊學蘇軾門下。哲宗紹聖年間，卻因朝中新舊黨派失和，蘇軾遭遇排擠，黃庭堅不幸牽連在內，面臨貶謫的命運。崇寧元年（1102）行經武昌時，完成「松風閣」詩作，書法以柳公權為基底，行筆澀勁，蒼老有如長松伸展，世推為黃氏行楷書代表作。(20110913)
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內容簡介（中文）
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黃庭堅（西元一０四五－一一０五年），字魯直，號山谷道人，洪州分寧（今江西省修水）人。他是北宋的大詩人，也和蘇軾、米芾、蔡襄同為北宋四大書家。
北宋詩文書畫在文人提倡下，崇尚清新自然，大書法家均一反唐楷嚴整的格律，轉而追求個人創作的自由，黃庭堅尤為個中翹楚。他的行楷書結構充分發揮傾側之美，線條誇張而有餘韻，筆力圓勁，尤其一波三折的頓挫功夫，令人玩味不盡。
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內容簡介（英文）
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Huang T'ing-chien, a native of Kiangsi province, was a great poet of the period and ranked along with su Shih, Mi Fu, and Ts'ai Hsiang as one of the Four Northern Sung Masters of Calligraphy.
Northern Sung scholar-officials advocated purity and naturalness in the arts of poetry, prose, calligraphy, and painting. Calligraphers reiected the strict, formal qualities of T'ang standard script and searched for freedom in individual expression and creativity. Huang was one of the most outstanding among them. His semi-standard script clearly reveals the beauty of slanting strokes. His lines are exaggerated yet harmonious,while the brushwork is rounded and strong, especially where the strokes stop and start in his unique "trembling" style.
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內容簡介（英文）
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Huang Tingjian (style name Luzhi; sobriquets Fuweng and Shangu daoren) was a native of Hongzhou in Fenning (modern Xiushui, Jiangxi). His father and grandfather both excelled at poetry and prose, emphasizing cultivation in Confucian studies. Huang Tingjian passed the imperial examinations and became a Presented Scholar in 1067, embarking on his career as an official while also having the opportunity to study under Su Shi with Zhang Lei and others. In the Shaosheng era (1094-1098) of Emperor Zhezhong, due to discord between the new and old factions at court, Su Shi was singled out and banished. Huang Tingjian, through association with him, also suffered the fate of exile. In 1102 while passing through Wuchang, Huang completed the poem on “Hall of Pines and Wind.” The calligraphy is based on that of Liu Gongquan, the running brushwork jolting in force and the hoary quality like that of a tall pine reaching upwards. As a result, this work became known among generations as representative of Huang’s semi-regular script. (20110913)
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內容簡介（英文）
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Huang T'ing-chien, style name Lu-chih and sobriquets Fu-weng and Shan-ku tao-jen, was a native of Fen-ning, Kiangsi. He specialized in poetry and prose as well as calligraphy, being known in the latter along with Su Shih, Mi Fu, and Ts’ai Hsiang as one of the Four Masters of the Northern Sung. In the eighth lunar month of 1102, Huang T'ing-chien took a trip to the Western Mountain at Wu-ch’ang (modern O-chou, Hupeh), along the way visiting such famous sites as the “Hall of Pines and Wind”. Moved by the occasion, he calligraphed his own seven-character archaic verse, through which he expressed a desire for relief from his present predicament and a longing for his friends. The handscroll was calligraphed on joined pieces of paper with impressed designs that did not absorb the ink very well, yet the brushwork still reveals the strength of his calligraphy, the elongated wave-like features of certain strokes, and the compact and elongated characters. Thus, it is a representative work of Huang T'ing-chien's later style.(20061206)
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網頁展示說明
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黃庭堅（1045－1105），字魯直，號山谷道人，洪州分寧（今江西修水）人。父祖均長於詩文，重視儒學修養，治平四年進士及第後步入宦途，得有機緣與張耒等人遊學蘇軾門下。元祐年間，卻因朝中新舊黨派失和，蘇軾遭遇排擠，不幸牽連在內，面臨貶謫的命運。崇寧元年（1102）行經武昌時，完成「松風閣」詩作，書法以柳公權為基底，行筆澀勁，蒼老有如長松伸展，世推為黃氏行楷書代表作。(20110913)
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網頁展示說明
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黃庭堅（1045？1105）字魯直，號涪翁，江西分寧人。二十三歲中進士，歷任汝州（河南）葉縣縣尉、北京國子監教授、秘書省校書郎等職。長於行書和草書，與蔡襄（1012？1067）、蘇軾（1036？1101）、米芾（1051？1108）合稱「宋四大家」。
崇寧元年（1102）九月，黃庭堅與朋友遊鄂城樊山，途經松林間一座亭閣，在此過夜，作了這首「松風閣」的詩，歌詠當時所看到的景物，並表達對朋友的懷念。這件書蹟長波大撇，提頓起伏，一波三折，像是船夫搖槳用力的樣子。不論收筆、轉筆，都是楷書的筆法，下筆平和沉穩，變化非常含蓄，輕頓慢提，婀娜穩厚，意韻十足。在後段提到前一年已去世的蘇軾時，心中不免激動，筆力特別凝重，結字也更加傾側，是尚意書風的典型。
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網頁展示說明
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Huang T'ing-chien, a native of Kiangsi province, was a great poet of the period and ranked along with Su Shih, Mi Fu, and Ts'ai Hsiang as one of the Four Northern Sung Masters of Calligraphy.
Northern Sung scholar-officials advocated purity and naturalness in the arts of poetry, prose, calligraphy, and painting. Calligraphers rejected the strict, formal qualities of T'ang standard script and searched for freedom in individual expression and creativity. Huang was one of the most outstanding among them. His semi-standard script clearly reveals the beauty of slanting strokes. His lines are exaggerated yet harmonious, while the brushwork is rounded and strong, especially where the strokes stop and start in his unique "trembling" style.
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