《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。

　　《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。

　　行书3行，共22字，释文：

　　“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”

　　无署款。

　　《中秋帖》是《宝晋斋法帖》、《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，黑采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。 

　　卷前引首清高宗弘历行书题“至寶”两字。

　　前隔水乾隆御题一段。

　　帖正文右上乾隆御题签“晉王獻之中秋帖”一行。

　　卷后有明董其昌、项元汴，清乾隆题跋，其中附乾隆帝、丁观鹏绘画各一段。

　　卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。

　　此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时溥仪将其携出宫外，流散民间。建国前和王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。

　　宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。

 

--------Introduction in English--------

 

"Mid-Autumn Tie" was handed down as a book dedicated by King Jin, a paper book, a handroll, 27 centimeters in length and 11.9 centimeters in breadth.

The Mid-Autumn Tie is a famous ancient calligraphy work. It was once praised as one of the "Three Greeks" by Emperor Gaozong Hongli (Emperor Qianlong) of the Qing Dynasty, which means the treasure of the world.

There are three lines in the running book, totaling 22 words.

"The Mid-Autumn Festival is no longer the same, that is, how can we win the big army such as He Qing."

No signature.

"Mid-Autumn Festival Tie" is the incomplete version of "Bao Jin Zhai Fa Tie" and "December Cut Tie". Before "Mid-Autumn Festival", the original Tie had six characters: "December Cut to No". The stickers were written on bamboo paper, which was not fashionable in the Eastern Jin Dynasty, but appeared in the Northern Song Dynasty. From the line of writing, we can see that the brush used in the Jin Dynasty is a soft and careless one, while the Jin Dynasty used a hard and hard one, which has poor water absorption. The lifting, pressing and turning of the brush are often not flexible and free, and thieves often occur. Such a rich and round, coherent lines, smooth and elegant effect can not be written. Wu Sheng's Daguanlu in Qing Dynasty said: "The calligraphy of this trace is ancient and rich, but it looks like a fat maidservant. Although it is not filled in by hooks, it may be imitated by Song people." According to the research of contemporary calligraphers and painters, most of them think that Mifu was in Song Dynasty, so it is also valuable.

In the front of the volume, the title of Qing Gao Zonghong's journey is "Zhibao".

Qianlong imperial section of Qianlong.

On the right of the body, the Emperor Qianlong inscribed the line "Mid-Autumn Festival Poster Presented by King Jin".

There are Ming Dong Qichang, Xiang Yuanbian and Qing Qianlong inscriptions and postscripts after the scroll, which include the paintings of Emperor Qianlong and Ding Guanpeng.

Before and after the scroll, as well as in Kanshui, there are the inscriptions of Xuanhe Neifu in Beijing, Xuanhe Neifu in Southern Song Dynasty, Yuan Bian in Ming Xiang, Wu Ting and Neifu in Qing Dynasty.

This post was collected in Xuanhe, Shaoxing, Ming and Qing dynasties. During the Republic of China, Puyi took him out of the palace and dispersed among the people. Before the founding of the People's Republic of China, together with Wang Er's Bo Yuan Tie, it was pawned by a foreign bank in Hong Kong. At the end of 1951, when the pawn period was about to expire, some people abroad intended to buy it. Premier Zhou Enlai, on hearing the news, immediately instructed the relevant departments to buy it back and enter the Palace Museum of Tibet.

Song Neifu's Xuanhe Shupu, Ming Zhang Chou's Qinghe Calligraphy and Painting Miao, Qinghe Seeing and Hearing Watch, Qinghe Secret Watch, Wang Juyu's Coral Net Book Postscript, Qingfu's Life Magnificance, Bian Yongyu's Ancient Style Hall Calligraphy and Painting Collection, Wu Sheng's Daguanlu, and Neifu's Shiqubaoji Preliminary Edition.