《诸上座帖》，宋，黄庭坚书，纸本，手卷，草书，92行，纵33厘米，横729.5厘米。

　　《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。

　　《诸上座帖》释文：

　　“諸上座爲複只要弄唇嘴，爲複別有所圖，恐伊執著，且執著甚麽，爲複執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧雲，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。

　　此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）　　

　　署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。

　　卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”，明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，至清末流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。

　　此书学怀素的狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。

　　明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。 

 

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

 

Zhu Shang Tie, Song Dynasty, Huang Tingjian Book, Paper Book, Handscroll, Cursive Book, 92 lines, 33 cm in length and 729.5 cm in breadth.

Zhu Shang Tie is a quotation written by Huang Tingjian, a friend of the Song Dynasty, Li Rendao, for the benefit of the five Jinling monks. The full text is a Buddhist Zen language.

Interpretation of Zhu Shang Tie:

"As long as you make your lips and lips clear, you are afraid of being persistent, and you are persistent in what you are persistent in, you are persistent in reason, persistent in color, persistent in emptiness, if you are reasonable, you are persistent in reason, you are persistent in doing things, you are persistent in color, you are persistent in emptiness, so mountain monks are seeking the ways of the Supreme Bodhisattvas, the Buddhas in ten directions, and the good knowledge in ten directions. When you know it, you will try to hang your hands, and when you sit down, you will try to take over it (16 words below). The ten Buddhas and all the good knowledge will hang your hands and know what is the place where you will take over, and what is the place where you will take over, and what you will never get, and what is the way to get round. When you sit down at home, you will have to examine the spirit of your sons, not only with little wisdom, but also to pass the time. There are so many monks in the mountains. Ancient saints only see their own minds and ancestors'ways. They are not wind-driven or wind-driven, but they have nothing to do with each other. The monk asks how to live and die from the bottom of their hearts and to the bottom of their hearts. The monk is trying to learn from others but to the bottom of their hearts. If you don't see the way, you won't see it. Neither is it born nor destroyed. Ask again, teach and speak, and Buddha speaks with one sound. Every living creature knows how to understand the way of Yidao. You know very well that asking before you can't speak the ancient language. For what reason, you know very well where is Yidao. It's not in the middle of the score, but it's not for the sake of not asking, but reflecting, deciding not to do so. Be careful not to misunderstand. Besides these two sessions, don't discuss how to do so. If you can speak like this, you will be held by the Holy Spirit. If you can speak like this, you will not have different understandings and different ways. Never say wrong, it will be good. You can speak a speech with one tone, understand it according to the kind, have a whereabouts, start to empty up and down every day, and not be improper in human affairs. Besides, when you look at the Tao, you can see that all sounds are Buddhist voices, all colors are Buddhist colours, why not you take them?

This is a big husband's birth and death, not a hasty meeting. Blind little devils often see the next mouth, such as blind donkeys grazing grass, so this article, left my friend Li Rendao, a few clear windows, it is day to see the ancients, is the meeting season, Valley old people book. (Records of Ancient Calligraphy and Painting Through the Eye)

Signature: "Valley Book for the Elderly." On the word "book", Zhu Wenfangxi, a Taoist in the valley, was inscribed. After the paper there are Ming and Wu Kuan, Qing Liang and Qing Title Postscript each paragraph.

Before and after the volumes, and across the water, Jun Song Dynasty's "Neifu Book Print", "Shaoxing", "Yuesheng", "Wei Su Private Print" in Yuan Dynasty, Ming Dynasty's "Yingzhen", "Huaxia", "Zhou Lianggong", "Chengze in Qing Dynasty, Wang Hongxu" and "Zhang Boju" in modern times. This post was deposited in Li Yingzhen, Huaxia and Zhou Liang's workshops in the Ming Dynasty. In the early Qing Dynasty, the Tibetan Sun Chengze Yanshan Zhai returned to Wang Hongxu. In the Qianlong period, he earned money from the Neifu and went out of the palace at the end of the Qing Dynasty. It was collected by Mr. Zhang Boju and donated to the state. It is now stored in the Beijing Palace Museum.

Huaishu's cursive style of calligraphy is characterized by vertically and horizontally brushwork, vigorous and magnificent style, and odd and unconstrained handwriting style. It can show the excellent calligraphy skills of the writers. Huang Tingjian's "Valley Self-talk" cloud: "Yu Xue's cursive script more than 30 years, the beginning of Zhou Yue as a teacher, so 20 years of vulgarity, late Sucaiweng, Zimei book view, is the ancient pen. Later, Zhang Changshi, Sanghuai Su and Gao Lei ink marks were acquired, which is the wonder of the pen-writing technique. After Yu Lu, Huang Shi made another regular script with big characters, tightly knotted inside and loosely knotted outside. His long and powerful writing style was full of twists and turns, and his momentum was open. A volume of calligraphy had two parts, which set off each other, especially rare, and was his masterpiece in his later years.

Ming Dumu's Implication Edition, Huaxia's Zhenzhai Fu Notes, Wenjia's Junshan Tang Calligraphy and Painting Records, Zhang Chou's Qinghe Calligraphy and Painting Qian, Qinghe Seeing and Hearing Table, Bian Yongyu's Collection of Style Ancient Tang Calligraphy and Painting, Sun Chengze's Gengzi Xiaoxia Records in Qing Dynasty, Shiqu Baoji Preliminary Edition in Qing Neifu Dynasty, etc.