[{"data":1,"prerenderedAt":365},["ShallowReactive",2],{"artist-wang-xi-zhi-18":3},{"artist":4,"artworks":17},{"id":5,"slug":6,"name":7,"dynasty":8,"birthAndDeath":9,"shortDesc":10,"longDesc":11,"coverUrl":12,"tags":13,"workNumber":14,"initial":15,"showCount":16},18,"wang-xi-zhi-18","王羲之","晋","303年—361年","字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称\"钟王\"，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b62cd35fac662a85ccdc68062f08ebe.jpg",[],25,"W",192,[18,40,59,73,89,102,113,124,138,148,156,166,174,183,198,208,216,226,235,243,257,269,278,293,303,313,320,331,340,349,357],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},214582,"yu-hou-tie-wang-xi-zhi-214582","雨后帖","北京故宫博物院","《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。",[25,26,27,28,29,30,31],"书画","书法","字帖","草书","印章","水墨","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65b1f972a6e224b50a9893ad0e555b0.jpg","纸本,水墨","25.7x14.9","书法精选",[35],771,0,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":8,"author":7,"museum":44,"description":45,"tags":46,"thumbUrl":52,"material":53,"size":54,"collection":35,"collections":55,"showCount":57,"zanCount":58,"manualWeight":38,"mainColor":39},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","台北故宫博物院","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[47,48,49,25,50,29,51,26,27],"高清","名画","国画","长卷","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","白纸本","纵23cm，横14.8cm",[35,56],"碑帖精选",387,6,{"id":60,"slug":61,"title":62,"dynasty":8,"author":7,"museum":63,"description":64,"tags":65,"thumbUrl":67,"material":68,"size":69,"collection":11,"collections":70,"showCount":71,"zanCount":72,"manualWeight":38,"mainColor":39},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","藏地不详","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[47,48,25,26,50,51,66,27,29],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg","未知","Xcm*Xcm",[],320,4,{"id":74,"slug":75,"title":76,"dynasty":8,"author":7,"museum":77,"description":78,"tags":79,"thumbUrl":84,"material":81,"size":85,"collection":35,"collections":86,"showCount":87,"zanCount":88,"manualWeight":38,"mainColor":39},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[47,26,80,27,50,81,29,82,83,66],"楷书","纸本","写经","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[35],274,5,{"id":90,"slug":91,"title":92,"dynasty":8,"author":7,"museum":93,"description":94,"tags":95,"thumbUrl":96,"material":97,"size":98,"collection":35,"collections":99,"showCount":100,"zanCount":101,"manualWeight":38,"mainColor":39},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[47,25,50,51,26,29,27,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","绢本,设色","24.4x8.9",[35],266,2,{"id":103,"slug":104,"title":105,"dynasty":8,"author":7,"museum":106,"description":107,"tags":108,"thumbUrl":12,"material":110,"size":11,"collection":35,"collections":111,"showCount":112,"zanCount":38,"manualWeight":38,"mainColor":39},221027,"sang-luan-de-shi-er-xie-tie-wang-xi-zhi-221027","《丧乱得示二谢帖》","三之丸尚藏馆","《丧乱得示二谢帖》是唐代内府的双钩填墨摹本，奈良时期由遣唐使传入日本。日本皇室宫内厅三之丸尚藏馆藏。",[47,26,51,27,109],"手札","尺牍，行书。 纸本",[35],190,{"id":114,"slug":115,"title":116,"dynasty":8,"author":7,"museum":117,"description":118,"tags":119,"thumbUrl":120,"material":11,"size":11,"collection":35,"collections":121,"showCount":122,"zanCount":38,"manualWeight":38,"mainColor":123},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","辽宁省博物馆","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[47,26,50,51,28,66,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[35,56],189,"795548",{"id":125,"slug":126,"title":127,"dynasty":8,"author":7,"museum":128,"description":129,"tags":130,"thumbUrl":132,"material":133,"size":134,"collection":35,"collections":135,"showCount":136,"zanCount":101,"manualWeight":38,"mainColor":137},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","日本京都国立博物馆","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[47,28,26,50,27,131],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[35,56],183,"37474F",{"id":139,"slug":140,"title":141,"dynasty":8,"author":7,"museum":63,"description":142,"tags":143,"thumbUrl":144,"material":145,"size":11,"collection":35,"collections":146,"showCount":147,"zanCount":101,"manualWeight":38,"mainColor":39},221040,"huang-ting-jing-wang-xi-zhi-221040","黄庭经","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[47,26,80,27,50,29,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[35,56],127,{"id":149,"slug":150,"title":151,"dynasty":8,"author":7,"museum":22,"description":23,"tags":152,"thumbUrl":153,"material":33,"size":34,"collection":11,"collections":154,"showCount":155,"zanCount":38,"manualWeight":38,"mainColor":39},214581,"yu-hou-tie-2-wang-xi-zhi-214581","雨后帖-2",[26,51,30,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd738a3b7c238ae9018a31bb5922db94d.jpg",[],115,{"id":157,"slug":158,"title":159,"dynasty":8,"author":7,"museum":63,"description":160,"tags":161,"thumbUrl":162,"material":11,"size":163,"collection":35,"collections":164,"showCount":165,"zanCount":38,"manualWeight":38,"mainColor":123},221030,"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[47,26,51,131,27,50,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[35],112,{"id":167,"slug":168,"title":169,"dynasty":8,"author":7,"museum":22,"description":23,"tags":170,"thumbUrl":171,"material":33,"size":34,"collection":11,"collections":172,"showCount":173,"zanCount":38,"manualWeight":38,"mainColor":39},214580,"yu-hou-tie-3-wang-xi-zhi-214580","雨后帖-3",[25,26,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b2195af58b31babe6a6950b6c1ecdd.jpg",[],98,{"id":175,"slug":176,"title":177,"dynasty":8,"author":7,"museum":63,"description":178,"tags":179,"thumbUrl":180,"material":11,"size":11,"collection":35,"collections":181,"showCount":182,"zanCount":101,"manualWeight":38,"mainColor":39},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[47,26,28,50,66,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[35,56],97,{"id":184,"slug":185,"title":186,"dynasty":8,"author":7,"museum":63,"description":64,"tags":187,"thumbUrl":194,"material":68,"size":69,"collection":11,"collections":195,"showCount":196,"zanCount":197,"manualWeight":38,"mainColor":123},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷",[47,50,131,26,51,188,189,190,191,192,193,27],"人物","雅集","饮酒","竹林","流水","亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],87,1,{"id":199,"slug":200,"title":201,"dynasty":8,"author":7,"museum":44,"description":202,"tags":203,"thumbUrl":204,"material":133,"size":205,"collection":35,"collections":206,"showCount":207,"zanCount":38,"manualWeight":38,"mainColor":123},221034,"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[26,51,27,29,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纵24.8厘米，横21.3厘米",[35,56],82,{"id":209,"slug":210,"title":211,"dynasty":8,"author":7,"museum":63,"description":64,"tags":212,"thumbUrl":213,"material":68,"size":69,"collection":11,"collections":214,"showCount":215,"zanCount":197,"manualWeight":38,"mainColor":137},288115,"lan-ting-ji-xia-juan-wang-xi-zhi-288115","兰亭记下卷",[26,51,131,50,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdac168b907f17c41de675b3950d958eb.jpg",[],81,{"id":217,"slug":218,"title":219,"dynasty":8,"author":7,"museum":44,"description":220,"tags":221,"thumbUrl":223,"material":11,"size":224,"collection":35,"collections":225,"showCount":215,"zanCount":38,"manualWeight":38,"mainColor":39},221031,"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[47,25,26,51,50,29,27,222],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[35,56],{"id":227,"slug":228,"title":229,"dynasty":8,"author":7,"museum":63,"description":64,"tags":230,"thumbUrl":232,"material":68,"size":69,"collection":11,"collections":233,"showCount":234,"zanCount":38,"manualWeight":38,"mainColor":39},283640,"sang-luan-tie-tang-mo-ben-wang-xi-zhi-283640","丧乱帖（唐摹本)",[47,26,51,27,66,231],"悲痛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a558189603d3fc9915d19c19c7d1a6.jpg",[],74,{"id":236,"slug":237,"title":238,"dynasty":8,"author":7,"museum":22,"description":23,"tags":239,"thumbUrl":240,"material":33,"size":34,"collection":11,"collections":241,"showCount":242,"zanCount":38,"manualWeight":38,"mainColor":39},214579,"yu-hou-tie-4-wang-xi-zhi-214579","雨后帖-4",[26,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcc946dcc7eddc58de94fb6f17a011a.jpg",[],73,{"id":244,"slug":245,"title":246,"dynasty":8,"author":7,"museum":247,"description":248,"tags":249,"thumbUrl":253,"material":81,"size":254,"collection":35,"collections":255,"showCount":256,"zanCount":38,"manualWeight":38,"mainColor":39},221039,"pin-you-ai-huo-tie-yu-kong-shi-zhong-tie-you-xuan-tie-wang-xi-zhi-221039","《频有哀祸帖》与《孔侍中帖》、《忧悬帖》","日本尊经阁文库","《频有哀祸帖》行草书。\n为东晋王羲之所书尺牍摹本，原作久佚。存世的《频有哀祸帖》摹本收藏于日本前田育德会，为唐代硬黄响搨、双钩廓填摹本。作品行轴线时曲时直、书体时草时行、点画时方时圆，书写风格沉雄跳宕、劲健流纵，体现了王羲之高超的书写技巧和驾驭能力。作品。\n《孔侍中帖》為唐代摹搨墨跡，是對東晉王羲之尺牘進行的雙鈎廓填而形成的勾摹本。行草書，3行，25字。《孔侍中帖》筆畫體態豐腴雍容；“中和”之美，“多力豐筋”於此帖盡顯。作品墨跡收藏於日本前田育德會。",[26,51,250,251,252],"笔墨","帖","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0bf13a3fc38ad9b01d9a38229a29a96.jpg","纵24.8厘米，3行，20字",[35,56],70,{"id":258,"slug":259,"title":260,"dynasty":8,"author":7,"museum":261,"description":262,"tags":263,"thumbUrl":264,"material":265,"size":266,"collection":56,"collections":267,"showCount":268,"zanCount":38,"manualWeight":38,"mainColor":39},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[47,26,51,27,50,29,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","纸本墨迹","11行，102字",[56],67,{"id":270,"slug":271,"title":272,"dynasty":8,"author":7,"museum":44,"description":273,"tags":274,"thumbUrl":275,"material":53,"size":205,"collection":35,"collections":276,"showCount":277,"zanCount":38,"manualWeight":38,"mainColor":39},221037,"yuan-huan-tie-wang-xi-zhi-221037","远宦帖","《远宦帖》亦称《省别帖》，为《十七帖》丛帖第十五通尺牍。草书，6行，53字。王羲之在信中对周抚对家人的问候表示感谢，提及自己的妻子的情况时，对其病重非常担忧。信中还问及陶侃家人和一些同僚的近况。《中国书法全集》对《远宦帖》的书法风格评价为“偏锋侧锋甚明显，体势多有章草意味”。用笔与气势\n《远宦帖》草法以简约为主，虽间有萦绕，亦简略不繁。两字连属者仅有“省别”、“小大”、“子亦”、“数问”、“救命”、“足下”六处，无三字相连者。偶有收笔如章草者，如“不”字，也因笔毫不易遣锋之故，“远”字最后之萦绕，向上回笔处笔锋分岔，正能说明用笔为硬毫，使转、收纵不甚灵便。《远宦帖》其字间隔不大，较为拥密，与《十七帖》中间疏润者不类。字形多向横扁发挥，无一笔纵情直下者。行距颇有余地。\n整篇气势虽不畅速，但和谐无碍，中无滞阻之处。笔画洒落有致，粗细之间匀净清爽，又不失其古朴之趣，从中甚可体会古人作草并不一味求其潦草恣肆，而是凝重而无阻塞；但全面来看，气充意随，一气呵成，如瀑流之激荡，时有浪花泛起，足可流连其间，领悟寄情其间，遣词造句之含蕴。\n《省别帖》用笔的来龙去脉交代得非常清晰，体现了王羲之草书线条的丰富性——用笔中的圆转、方折、连带、割断、轻重、提按等对立因素在起笔、收笔、运笔过程中的运用与变化。其次，结构与章法方面的大小错落、左右穿插、上下移位等因素，也增加了字势的运动感，显得虚活灵动，生机盎然。",[47,26,51,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg",[35,56],61,{"id":279,"slug":280,"title":281,"dynasty":8,"author":7,"museum":22,"description":282,"tags":283,"thumbUrl":287,"material":288,"size":289,"collection":35,"collections":290,"showCount":291,"zanCount":38,"manualWeight":38,"mainColor":292},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[26,51,284,285,31,25,286],"墨书","题跋","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[35,56],58,"F48FB1",{"id":294,"slug":295,"title":296,"dynasty":8,"author":7,"museum":44,"description":297,"tags":298,"thumbUrl":299,"material":11,"size":300,"collection":35,"collections":301,"showCount":302,"zanCount":38,"manualWeight":38,"mainColor":39},221033,"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[26,51,131,27,25,48,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[35,56],32,{"id":304,"slug":305,"title":306,"dynasty":8,"author":7,"museum":44,"description":307,"tags":308,"thumbUrl":309,"material":53,"size":310,"collection":56,"collections":311,"showCount":312,"zanCount":38,"manualWeight":38,"mainColor":123},227053,"shu-yue-yi-lun-01-wang-xi-zhi-227053","书乐毅论01","乐毅论是三国时期魏夏侯玄所撰，论述燕国名将乐毅之事。唐朝初年，王羲之书《乐毅论》入藏内府，经褚遂良鉴定为真迹，列为正书第一，与《兰亭序》并列为唐太宗最珍贵的书迹，并摹拓分赐大臣，故一般人罕见其貌。此刻选自《宋拓越州刻晋唐小楷册》，笔画精妙，字势逸宕，雍容典雅，为传世《乐毅论》之著名版本。",[26,25,80,131,27,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7462174768726bbc21221fc292f712ee.jpg","25.3×12.9厘米",[56],26,{"id":314,"slug":315,"title":316,"dynasty":8,"author":7,"museum":63,"description":64,"tags":317,"thumbUrl":318,"material":68,"size":69,"collection":11,"collections":319,"showCount":14,"zanCount":38,"manualWeight":38,"mainColor":39},288194,"da-dao-tie-wang-xi-zhi-288194","大道帖",[47,48,25,50,28,26,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473d3c9f1fd7965415f14ac17b5d934.jpg",[],{"id":321,"slug":322,"title":323,"dynasty":8,"author":7,"museum":63,"description":324,"tags":325,"thumbUrl":328,"material":11,"size":11,"collection":56,"collections":329,"showCount":330,"zanCount":38,"manualWeight":38,"mainColor":123},227052,"da-guan-tie-wang-xi-zhi-227052","大观帖","王羲之（303年—361年） [1] ，字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[26,131,51,31,27,326,327],"碑帖","墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573623cb858e8a1fed32ec1e7964493a.jpg",[56],23,{"id":332,"slug":333,"title":334,"dynasty":8,"author":7,"museum":63,"description":64,"tags":335,"thumbUrl":337,"material":68,"size":69,"collection":11,"collections":338,"showCount":339,"zanCount":38,"manualWeight":38,"mainColor":39},283637,"pin-you-ai-huo-kong-shi-zhong-you-xuan-san-tie-wang-xi-zhi-283637","频有哀祸、孔侍中、犹悬三帖",[47,26,51,28,27,336],"哀伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22abba4f45a09ee811a15732747acb4.jpg",[],17,{"id":341,"slug":342,"title":343,"dynasty":8,"author":7,"museum":63,"description":64,"tags":344,"thumbUrl":346,"material":68,"size":69,"collection":11,"collections":347,"showCount":348,"zanCount":38,"manualWeight":38,"mainColor":123},227055,"wu-gang-tie-wang-xi-zhi-227055","武冈帖",[345,26,28,131,31],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f96d3efea2032c08ab369d9bde6808b.jpg",[],9,{"id":350,"slug":351,"title":352,"dynasty":8,"author":7,"museum":63,"description":64,"tags":353,"thumbUrl":354,"material":68,"size":69,"collection":11,"collections":355,"showCount":356,"zanCount":38,"manualWeight":38,"mainColor":123},227056,"jin-tang-zheng-shu-wang-xi-zhi-227056","晋唐正书",[345,26,131,51,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bea167c0887bbf8168a2d57af6b21a.jpg",[],8,{"id":358,"slug":359,"title":360,"dynasty":8,"author":7,"museum":63,"description":361,"tags":362,"thumbUrl":363,"material":11,"size":11,"collection":11,"collections":364,"showCount":58,"zanCount":38,"manualWeight":38,"mainColor":123},227054,"da-guan-tie-3-wang-xi-zhi-227054","大观贴-3","此帖笔力爽利遒劲，行草随心变幻，牵丝映带间尽显使转灵动，粗细俯仰间生机盎然。起笔斩截利落，收锋或峭拔出锋或内敛回护，将真性情藏在线条疾缓之中。布局疏密错落天成，整行气脉贯通如流云出岫，拓本之下仍难掩笔墨舒展俊逸。\n字字顾盼相生，既不失法度规整，又尽显萧散简远的林下之风，将晋人尚韵的风雅气度融于每一处提按顿挫，把超逸出尘的魏晋风神藏在寸缣尺素之间。",[51,131,26,27,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90d7db95288c774c53bbc15056abef8.jpg",[],1777535621340]