159.3x54,绢本,,轴,台北故宫博物院。《相州昼锦堂记》是宋代文学家欧阳修为宰相韩琦在故乡相州修建的昼锦堂写的一篇“记”,作于1065年.作者围绕“昼锦” (白天穿锦衣,无比荣耀之意)二字发挥,先说明富贵还乡,衣锦而荣,是古今所同,并生动描述了古人衣锦还乡、得意扬扬的场面,然后避实就虚,不写昼锦堂本身,而是着重写昼锦堂主人的高尚品德.作者用苏秦、朱买臣等炫耀富贵的庸俗行为作陪衬,盛赞韩琦不以夸耀富贵为荣,反而引以为戒的行为,讽劝权贵们不要“夸一时而荣一乡”,而以 “德被生民而功施社稷” 为志,进而“耀后世而垂无穷”.全文写得含蓄隽永,迂回起伏,是历来公认的名篇. 释文：仕宦而至将相.富贵而归故乡.此人情之所荣.而今昔之所同也.盖士方穷时.困阨闾里.庸人孺子.皆得易而侮之.若季子不礼于其嫂.买臣见弃于其妻.一旦高车驷马.旗旄导前.而骑卒拥后.夹道之人.相与骈肩累迹.瞻望咨嗟.而所谓庸夫愚妇者.奔走骇汗.羞愧俯伏.以自侮罪于车尘马足之间.此一介之士.得志当时.而意气之盛.昔人比之衣锦之荣者也.惟大丞相卫国公则不然.公.相人也.世有令德.为时名卿.自公少时.已擢高科.登显仕.海内之士.闻下风而望余光者.盖亦有年矣.所谓将相而富贵.皆公所宜素有.非如穷厄之人.侥幸得志于一时.出于庸夫愚妇之不意.以惊骇而夸耀之也.然则高牙大纛.不足为公荣.桓圭衮裳.不足为公贵.惟德被生民.而功施社稷.勒之金石.播之声诗.以耀后世而垂无穷.此公之志.而士以此望于公也.岂止夸一时荣一乡哉.公在至和中.尝以武康之节.来治于相.乃作昼锦之堂于后圃.既又刻诗于石.以遗相人.其言以快恩雠.矜名誉为可薄.盖不以昔人所夸者为荣.而以为戒.于此见公之视富贵为何如.而其志岂易量哉.故能出入将相.勤劳王家.而夷险一节.至于临大事.决大议.垂绅正笏.不动声色.而措天下于泰山之安.可谓社稷之臣矣.其丰功盛烈.所以铭彝鼎而被弦歌者.乃邦家之光.非闾里之荣也.余虽不获登公之堂.幸尝窃诵公之诗.乐公之志有成.而喜为天下道也.于是乎书.子昂.赵子昂氏。清乾隆、嘉庆、宣统内府鉴藏印。石渠宝笈初编（御书房），下册，页1092； 故宫书画录（卷八），第四册，页8； Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsueh tao-jen; also known as Ou-p'o) was a native of Wu-hsing, Chekiang. Although he was a descendent of the Sung royal family, he served the Yuan government as an Academician in the Hanlin Academy. He was an able calligarpher and excelled at painting and seal carving. In calligraphy he advocated returning to ancient styles, and he deeply influenced later generations. There are three distinct changes in Chao's calligraphy. In his early years he imitated the style of the Sung emperor Kao-tsung (r. 1127-1162); in his middle years he studied the styles of Chung Yu (151-230), Wang Hsi-chih (307-365), and Wang Hsien-chih (344-388); and in his late years he studied the style of Li Yung (678-747). The title of this work is the Record of Ou-yang Hsiu's Chou-chin Studio in Hsiang-chou. With strictly structured characters held together within themselves and forceful and handsome brushwork, the calligraphy of the work is luxuriant and demonstrates the profound influence of Li Yung. This work was composed two years before Chao's death when he was sixty-six.