[{"data":1,"prerenderedAt":2194},["ShallowReactive",2],{"artist-zhao-meng-fu-5":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},5,"zhao-meng-fu-5","赵孟頫","元","1254年10月20日 －1322年7月30日","字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。","字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。\n\n人物生平\n宋室之后\n赵孟頫（fǔ）于宋理宗宝祐二年九月十日（1254年10月20日）生于吴兴（今浙江省湖州市）， [1] 为宋太祖之子秦王赵德芳之后。其五世祖为宋孝宗的父亲、秀安僖王赵子偁、四世祖为崇王赵伯圭，因孝宗赐赵伯圭宅第于湖州，故而他的后代子孙成为湖州人。赵孟頫的曾祖赵师垂，祖父赵希戭，父亲赵与訔，亦皆仕于南宋，官衔颇高 。嫡母李氏，生母丘氏。祖父早死无子，由祖母收他为后。赵孟頫为赵与訔第七子。他十一岁时，父亲去世，由生母督学。\n赵孟頫自幼聪敏，读书过目不忘，下笔成文，写字运笔如风。十四岁时，赵孟頫因其家世代为官亦入补官爵，并通过吏部选拔官员的考试，调任真州司户参军。\n南宋灭亡后，赵孟頫一度蛰居在家。丘氏说：“圣朝必收江南才能之士而用。你不多读书，如何超乎常人？”他因而愈加努力，拜老儒敖继公研习经义，学业日进，声名卓著。吏部尚书夹谷之奇举荐赵孟頫为翰林国史院编修官，但他辞不赴任。\n\n元朝重用\n至元二十三年（1286年），元朝行台侍御史程钜夫奉诏搜访隐居于江南的宋代遗臣，得二十余人，赵孟頫名列其首，并单独被引见入宫，觐见元世祖忽必烈。世祖见赵孟頫才气豪迈，神采焕发，如同神仙中人，非常高兴，让他位坐尚书左丞叶李之上当时朝廷刚刚设立尚书省，命赵孟頫起草诏书，颁布天下。世祖看了诏书后称赞道：“说出了朕心中所要说的话。”朝廷召集百官于刑部，商讨制定刑法。众人认为凡贪赃满至元宝钞二百贯者，都应论死罪。赵孟頫则认为处罚太重，因为钞法创立后的几十年内，已大幅度贬值，用贬值的宝钞来决定人的生死，不足采取。有人见他年少，又是来自南方，不了解元朝国情，指责他反对以宝钞来定罪，是想阻碍宝钞的流行。赵孟頫也理直气壮地反驳，指出：“刑法是关系到人命的生死，必须分别轻重。我奉诏参与商议，不敢不言。你不讲道理，企图以势压人，这是不行的！”那人被说得哑口无言。世祖打算重用赵孟頫，但遭到了一些人的阻止。\n至元二十四年（1287年）六月，世祖授赵孟頫为兵部郎中。兵部总管全国驿站，当时来往使臣的饮食费用比过去增加了几十倍，当地官府无力供给，只有强取于民，百姓不胜骚扰，请中书省以增加钞币来解决。但当时至元钞不能通行，朝廷派尚书刘宣与赵孟頫一同至江南查办行省丞相贯彻执行钞法不力之罪，左右司官及诸路官均遭鞭打，然而赵孟頫却不打一人。回京后，丞相桑哥对他的这种宽容大加谴责。\n当时，大臣王虎臣揭发平江路总管赵全的违法事实，朝廷命王虎臣去查处。叶李坚持奏请不可派王虎臣，世祖不听。赵孟頫进言说：“赵全违法确实应该问罪，但王虎臣以前在平江也常常强买民田，纵令下属臣僚奸诈营利。赵全曾多次与他争斗，王虎臣怀恨在心。如今派王虎臣去，他必然陷害赵全；纵然查出赵全不法事实，人们也不能不有所怀疑。”世祖这才明白过来，改派他人去处理。世祖知道赵孟頫家境素来清贫，曾赐他钞五十锭。\n至元二十七年（1290年），赵孟頫升任集贤直学士。同年，发生地震，北京尤其剧烈，死伤数十万人，世祖为之忧心如焚。世祖亲驻龙虎台，派集贤大学士阿剌浑撒里回京，召集集贤、翰林两院官会议，询问此次天灾发生的原因及消灾的办法。但这些官员畏惧桑哥的权势，不敢说实话，只是泛引《经》《传》及五行灾异的话，以修人事、应天变来回答，不敢触及时政。在此前，桑哥遣忻都及王济清理全国钱粮，大加搜括，已征入数百万，未征者还有数千万，弄得民不聊生，百姓有自杀的情况。逃入山林的人，官府发兵追捕，无人敢来劝阻。赵孟頫与阿剌浑撒里非常友好，劝他去奏请世祖大赦天下，免除赋税，这样就可能消弭天灾。阿剌浑撒里按照赵孟頫的意见向世祖奏禀，并得到世祖的允许。诏书已经草拟完，桑哥大怒，说这不是皇帝的旨意。赵孟頫挺身而出，对桑哥说：“百姓死亡已尽，那些未征上来的钱粮到哪里去征？若不及时免除，以后若有人将此未征之数千万钱粮作为损失而归咎于尚书省，这岂不深深连累了丞相？”桑哥明白其利害，同意全部免除赋税，百姓因而得救。\n世祖曾向赵孟頫询问叶李与留梦炎的优劣（二人均为降元的宋臣）。赵孟頫说：“留梦炎是臣父亲的挚友，为人庄重厚道，很自信，多谋能断，有大臣之才。叶李所读的书我都读过，他所知所能的事，臣都能知能办。”世祖说：“你是认为留梦炎比叶李要贤吗？但是，留梦炎在宋朝为状元，位至丞相，而在贾似道欺上误国之时，却对贾似道阿谀顺从。叶李当时虽为平民，却敢于上书朝廷，斥责贾似道，显然贤于留梦炎。你因为留梦炎是你父亲的挚友，不敢非议，可赋诗以规劝他。”赵孟頫便赋诗一首，其中有“往事已非那可说，且将忠直报皇元”的话，世祖看后大加赞赏。赵孟頫退朝后对奉御彻里说：“陛下在谈论贾似道误国时，责备留梦炎当时不敢指责。如今，桑哥的罪恶甚于似道，而我等不加指责，将来如何能推卸责任？但我毕竟不是陛下亲信之臣，说话陛下必不听从。侍臣中读书知理、慷慨有气节而又为陛下所亲信的人中，没有能超过你的。捐出自己生命而为百姓除害，是仁者之事，希望你能这样！”彻里果然向世祖揭发桑哥的罪恶。世祖大怒，命卫士将他掌嘴，彻里口鼻血涌，倒在地上。再问，彻里还是斥责桑哥罪行，大臣也相继指责桑哥，世祖便将桑哥按罪诛杀，并废除尚书省，凡有罪的大臣也统统罢官。\n世祖有意让赵孟頫参与中书省政事，赵孟頫坚持不肯。他认为久在君王身边，必受人嫉妒，故极力请求到外地任职。\n至元二十九年（1292年），赵孟頫外出任同知济南路总管府事。当地有个叫元掀儿的人，在盐场服役，因不胜艰苦而逃走。他的父亲诬告是同服劳役的人将掀儿杀害。赵孟頫怀疑其中有冤情，不立即判决。一个月后，掀儿自己回归盐场。郡中人都称赞赵孟頫料事如神。佥廉访司事韦哈刺哈孙，性情暴虐，因赵孟頫不顺他的意，借口中伤他；恰逢朝廷要修《世祖实录》，召赵孟頫还京，这才无事。其后，赵孟頫被改授为汾州知州，还未成行，朝廷又令他书写金字《藏经》。\n大德三年 （1299年）八月，赵孟頫任集贤直学士、江浙等处儒学提举。\n至大二年（1309年），在杭州十年官江浙儒学提举任期已满，赵孟頫被改授为中顺大夫、扬州路泰州尹兼劝农事，尚未赴任，为皇太子爱育黎拔力八达（即后来的元仁宗）遣使所召。\n\n深受宠遇\n至大三年（1310年），朝廷召赵孟頫回京师，授翰林侍读学士、知制诰、同修国史，命与其他学士共同撰写祀南郊祝文。在拟定殿名的问题上，与其他人意见不合，告假还乡。仁宗在东宫时，就闻知赵孟頫之名，等到他即位后，便召其为集贤侍讲学士、中奉大夫。\n皇庆二年（1313年）六月，任翰林侍讲学士、知制诰同修国史。十月，转集贤侍读学士、正奉大夫。\n延祐元年（1314年）十二月，升任集贤侍讲学士、资德大夫。\n延祐三年（1316年）七月，拜翰林学士承旨、荣禄大夫，知制诰、兼修国史，用一品例，推恩三代。 仁宗待他甚厚，只呼其字而不呼其名，在与侍臣谈论文学之士时，将赵孟頫比作唐代李白、宋代苏轼，称赞他品行纯正，博学多闻，书画绝伦，又精通佛学及老庄之学，这些都是人所不及的。有不乐意者想离间仁宗与赵孟頫的亲密关系，仁宗不加理会。既而又有人上书，认为赵孟頫不能参与编修国史。仁宗说：“赵子昂（赵孟頫）是世祖皇帝选拔的重臣，朕特加优待，让他在馆阁从事著述，传之后世，你们还罗嗦些什么？”并赐赵孟頫钞五百锭，叮嘱侍臣：“中书总说国用不足，这笔赏金他们必不肯付与，可从普庆寺库存中支给。”赵孟頫曾数月不至宫中，仁宗向左右侍从询问，都说赵孟頫年老畏寒，仁宗于是令御府赐他貂鼠皮裘。\n\n借病乞归\n延祐六年（1319年）四月，因管夫人病发，赵孟頫得旨还家，于二十五日离开大都。 五月十日，管夫人逝于临清舟中，赵孟頫父子护柩还吴兴。同年冬，仁宗又遣使催他回朝，最终因病未能成行。\n至治元年（1321年），元英宗孛儿只斤·硕德八剌遣使到赵孟頫家中，命他书写《孝经》。\n\n安然逝世\n至治二年（1322年）春，英宗遣使趋吴兴问候赵孟頫，并赐礼物。六月十六日（7月30日） ，赵孟頫病逝，享年六十九岁。逝世之日，仍观书作字，谈笑如常，至黄昏，逝于吴兴。 九月十日，与管夫人合葬于德清县千秋乡东衡山。 后追赠江浙中书省平章政事，追封魏国公，谥号“文敏”。\n\n主要影响\n绘画\n赵孟頫博学多艺，文学艺术开创一代风气。他兼擅各种绘画，其中山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。他力主变革南宋院体格调，自称“作画贵在有古意，如果没有古意，即使再精细也没用”，遥追五代、北宋法度，时人称赞他有唐人的“致”及北宋人的“雄”，并去除了二者中的“纤”及“犷”，开创了元代新画风。明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”\n如果说唐宋绘画的意趣在于以文学化造境，那么，赵孟頫在其间起到了桥梁作用。如果说元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那么，引发这种变化的巨擘仍是赵孟頫。\n作为一位变革转型时期承前启后的大家，赵孟頫有以下几方面突出的成就：\n提出“作画贵有古意”的口号，扭转了北宋以来古风渐湮的画坛颓势，使绘画从工艳琐细之风转向质朴自然。\u2028 提出以“云山为师”的口号，强调了画家的写实基本功与实践技巧，克服“墨戏”的陋习。\u2028 提出“书画本来同”的口号，以书法入画，使绘画的文人气质更为浓烈，韵味变化增强。\u2028 提出“不假丹青笔，何以写远愁”的口号，以画寄意，使绘画的内在功能得到深化，涵盖更为广泛。\u2028 在人物、山水、花鸟、马兽诸画科皆有成就，画艺全面，并有创新。\u2028 绘画兼有诗、书、印之美，相得益彰。\u2028 在南北一统、蒙古族入主中原的政治形势下，吸收南北绘画之长，复兴 中原传统画艺，维持并延续了其发展。\u2028 能团结包括高克恭、康里巎巎等在内的少数民族美术家，共同繁荣中华文化\n\n画论\n赵孟頫通过批评“近世”、倡导“古意”，从而确立了元代绘画艺术思维的审美标准。这个标准不仅体现在绘画上，而且也广泛地渗透于诗文、书法、篆刻等领域中。\n赵孟頫提倡“古意”，试图从古代的启示中去寻找医时救弊的良方。 他引晋唐为法鉴，批评南宋险怪霸悍和琐细浓艳之风；不仅如此，作为一位士大夫画家，他还一反北宋以来文人画的墨戏态度，这是十分可贵的。作为价值学原则，赵孟頫既维护了文人画的人格趣味，又摈弃了文人画的游戏态度；作为形态学原则，赵孟頫既创建文人特有的表现形式，又使之无愧于正规画的功力格法，并在绘画的各种画科中进行全面的实践，从而确立了文人画在画坛上成为正规画的地位。应该说，赵孟頫使职业正规画与业余文人画这两种原本对立或并行的绘画传统得以交流融汇，一个以文人画家为主角，以建构文人画图式为主题的绘画新时代，拉开了序幕。\n应当特别指出，赵孟頫的山水画不但将钩斫和渲淡、丹青和水墨、重墨和重笔、师古和创新，乃至高逸的士夫气息与散逸的文人气息综合于一体，使“游观山水”向“抒情山水”转化；而且使造境与写意、诗意化与书法化在绘画中得到调和与融洽，为“元季四大家”（黄公望、王蒙、倪瓒、吴镇）那种以诗意化、书法化来抒发隐逸之情的逸格文人画的出现，奠定了坚实的基础。\n对世俗贬低界画的看法，赵孟頫也有独到见解，认为其他画科，有时尚可杜撰瞒人，而界画却更须具备功力法度。\n\n影响\n有记载说，入元之后，赵孟頫家事甚贫，平时也常以字画收取润笔费用，聊以自补。而赵孟頫书画诗印四绝，当时就已名传中外，以至日本、印度人士都以珍藏他的作品为贵，为当时的中外文化交流作出了贡献。\n作为一代宗师，赵孟頫影响了友人高克恭、李衎，妻子管道升，儿子赵雍的画艺，他的弟子唐棣、朱德润、陈琳、商琦、王渊、姚彦卿，外孙王蒙，乃至元末黄公望、倪瓒等都在不同程度上继承发扬了赵孟頫的美学观点，使元代文人画久盛不衰。他与儿子赵雍、孙子赵麟都创作了《人马图》，称《三世人马图》，传为佳话。\n\n书法\n赵孟頫是元代初期很有影响力的书法家。其篆、籀、分、隶、楷、草诸书俱佳，以楷书、行书造诣最深、影响最广。据明人宋濂记述，赵氏书法早岁学“妙悟八法，留神古雅”的思陵（即宋高宗赵构）书，中年学“钟繇及羲献诸家”，晚年师法李北海。王世懋称：“文敏书多从二王（王羲之、王献之）中来，其体势紧密，则得之右军；姿态朗逸，则得之大令；至书碑则酷仿李北海《岳麓》、《娑罗》体。”此外，他还临抚过元魏的定鼎碑及唐虞世南、褚遂良等人；于篆书，他学石鼓文、诅楚文；隶书学梁鹄、钟繇；行草书学羲献，能在继承传统上下苦功夫。诚如文嘉所说：“魏公于古人书法之佳者，无不仿学”。虞集称他：“楷法深得《洛神赋》，而揽其标。行书诣《圣教序》，而入其室。至于草书，饱《十七帖》而度其形。”他是集晋、唐书法之大成的很有成就的书法家。同时代的书家对他十分推崇，后世有人将其列入楷书四大家：“颜、柳、欧、赵”。明代书画家董其昌认为他的书法直接晋人，评价其书法“因熟而俗”。\n赵孟頫在中国书法艺术史上有着不可忽视的重要作用和深远的影响力。他在书法上的贡献，不仅在他的书法作品，还在于他的书论。他有不少关于书法的精到见解。他认为：“学书有二，一曰笔法，二曰字形。笔法弗精，虽善犹恶；字形弗妙，虽熟犹生。学书能解此，始可以语书也。”“学书在玩味古人法帖，悉知其用笔之意，乃为有益。”在临写古人法帖上，他指出了颇有意义的事实：“前人得到古碑帖数行，专心学习，便能闻名于世。何况《兰亭集序》是王右军（王羲之）满意的书法。如果不停地学习，怎么会担心书法胜不过别人。”这些都可以给我们重要的启示。\n赵孟頫善于吸取他人的长处，因而在书法上获得较大的成就。尤为可贵的是宋元时代的书法家多数只擅长行、草体，而赵孟頫却能精究各体。后世学赵孟頫书法的极多，赵孟頫的字在朝鲜、日本非常风行。他手书佛、道的书法，有许多散于名山。\n\n其他\n赵孟頫的诗赋及文章，清邃高古，读来往往使人有飘然出世之感。在至元年间的诗人之中，赵孟頫与戴表元等人一起，力扫南宋卑弱习气。\n在经学方面，赵孟頫主治《尚书》，尤精于礼、乐之学。\n赵孟頫精通音乐，对律吕之学有精深研究，颇得古人不传之妙，著有《琴原》《乐原》各一篇。\n赵孟頫精于古器物、书法、名画的鉴定，有关年代、作者、真伪，望而知之，百不失一。 兼工篆刻，以“圆珠文”著称。\n\n历史评价\n孛儿只斤·爱育黎拔力八达：使后世知我朝有斗家，大妇父子皆善书，亦奇事也。\n杨载：公性善书，专以古人为法。篆则法《石鼓》、《诅楚》；隶则法梁鹄、钟繇；行草则法逸少、献之，不杂以近体。\n欧阳玄：公治尚书，有书注于礼乐，度数甚明，知音律，……为文清约典要，诸体诗造次天成，不为奇崛，格律高古不可及，尺牍能以数语曲畅事情，鉴定古器物名书画，望而知之，百不失一，精篆隶小楷行草书，惟其意所欲为，皆能伯仲古人，画入逸品高者诣神，四方贵游及方外士，远而天竺、日本诸外国，咸知宝藏公翰墨为贵，故世知之浅者，好称公书画识者，论公则其该洽之学，经济之才，与夫妙解绝艺，自当并附古人，人多有之，何至相掩也。\n林弼：赵文敏、虞文靖文翰，近代称绝。\n徐达左：当是时，以诗文名世者，若赵松雪（赵孟頫）、虞道园（虞集）、范德机（范梈）、杨仲弘（杨载）诸君子，以英伟之姿，凌跨一代，谐鸣于馆阁之上，而流风余韵，播诸丘壑之间。\n陶宗仪：性通敏持重，未尝妄言笑。书一目辄成诵，诗赋、文辞清邃高古。善鉴定古器物、名画。画山水、竹、石、人、马、花、鸟悉造其微。尤善书，为国朝第一，篆法石鼓诅楚，隶法梁、钟，草法羲、献。或得其片文遗帖，亦夸以为荣。然公之才名，颇为书画所掩，人知其书画，而不知其文章。知其文章，而不知其经济之才也。\n孙承恩：前代王孙，异时翰学。粹质令仪，高吟大作。绘事拟圣，墨妙入神。文采风流，照映后人。\n王世贞：①元诗人，元右丞好问、赵承旨孟頫、姚学士燧、刘学士因、马中丞祖常、范应奉德机、杨员外仲弘、虞学士集、揭应奉傒斯、张句曲雨、杨提举廉夫而已。赵稍清丽，而伤於浅。 ②余尝谓吴兴赵文敏公孟俯，风流才艺，惟吾郡文待诏征明可以当之，而亦少有差次。其同者，诗文也，书画也，又皆以荐辟起家。赵诗小壮而俗，文稍雅而弱，其浅同也。文皆畅利而乏深沉，其离古同也。书小楷赵不能去俗，文不能去纤，其精绝同也。行押则赵于二王近，而文不能近，少逊也。署书则文复少逊也。八分古隶则文胜，小篆则赵胜也，然而篆不胜隶。画则赵之入唐宋人深，而文少浅，其天趣同也，其鉴赏博考复同也。……若出处大节之异，前辈固巳纷纷言之，独赵集有述太傅丞相伯颜德一章，中所云：‘舆地久巳裂，车书当会同。’又云：‘六合仰照耀，一方顾颛蒙。’呜呼元诚而亲主，宋社诚屋，伯颜诚贤有功，岂而所宜言者，何有胸无心至此也，吾待诏不与同年语也。\n项穆：若夫赵孟頫之书，温润闲雅，似接右军正脉之传，妍媚纤柔，殊乏大节不夺之气。（《书法雅言》）\n董其昌：①吾于书似可直接赵文敏，第少生耳。而子昂之熟，又不如吾有秀润之气。惟不能多书，以此让吴兴一筹。 ②书家以险绝为奇，此窍惟鲁公、杨少师得之，赵吴兴弗能解也。今人眼目为吴兴所遮障。 （《画禅室随笔》）\n冯班：①赵松雪更用法，而参之宋人之意，上追二王，后人不及矣。为奴书之论者不知也。 ②赵殊精工，直逼右军，然气骨自不及宋人，不堪并观也。 ③学前人书从后人入手，便得他门户；学后人书从前人落下，便有拏把。汝学赵松雪，若从徐季海（徐浩）、李北海入手，便古劲可爱。 （《钝吟书要》）\n梁巘：①子昂书俗，香光书弱，衡山书单。 ②学董不及学赵，有墙壁，盖赵谨于结构，而董多率意也。 （《评书帖》）\n纪昀等：孟頫以宋朝皇族，改节事元，故不谐於物论。观其《和姚子敬韵诗》，有“同学故人今已稀，重嗟出处寸心违”句，是晚年亦不免於自悔。然论其才艺，则风流文采，冠绝当时。不但翰墨为元代第一，即其文章亦揖让於虞、杨、范、揭之间，不甚出其后也。\n吴德旋：①永兴书浑厚，北海则以顿挫见长，虽本原同出大令，而门户迥别。赵集贤欲以永兴笔书北海体，遂致两失。集贤临智永《千文》，乃是当行，可十得六七矣。②刘诸城云：“松雪自当为一大宗，既或未厌人意，然究无以易之。”此就元人而论，谓鲜于、康里诸公皆非松雪之匹耳。③松雪行书以《天冠山》为最，北海肖子也。世人艳称《民瞻十札》已属次乘，《梅花诗》则自《郐》无讥矣。（《初月楼论书随笔》）\n钱泳：①松雪书用笔圆转，直接二王，施之翰牍，无出其右。惟碑版之书则不然，碑版之书必学唐人。或曰：“然则何不径学唐人，而必学松雪，何也？”余曰：“吾侪既要学书，碑版翰牍须得兼备，碑版之书其用少，翰牍之书其用多，犹之读三百篇，《国风》、《雅》、《颂》不可偏废，书道何独不然。”②张丑云“子昂书法温润闲雅，远接右军，第过为妍媚纤柔，殊乏大节不夺之气”，非正论也。褚中令书，昔人比之美女婵娟，不胜罗绮，而睇忠言谠论，直为有唐一代名臣，岂在区区笔墨间，以定其人品乎！（《书学》）\n阮元：元赵孟頫楷书摹拟李邕。（《北碑南帖论》）\n包世臣：①子昂如挟瑟燕姬，矜宠善狎。②吴兴书笔专用平顺，一点一画、一字一行，排次顶接而成。古帖字体大小颇有相径庭者，如老翁携幼孙行，长短参差，而情意真挚，痛痒相关。吴兴书则如市人入隘巷，鱼贯徐行，而争先竞后之色人人见面，安能使上下左右空白有字哉！其所以盛行数百年者，徒以便经生胥史故耳。然竟不能废者，以其笔虽平顺，而来去出入处皆有曲折停蓄。其后学吴兴者，虽极似而曲折停蓄不存，惟求匀净，是以一时虽为经生胥史所宗尚，不旋踵而烟销火灭也。③吴兴用意结体，全以王士则《李宝成碑》为枕中秘。（《艺舟双楫》）\n周星莲：赵集贤云：“书法随时变迁，用笔千古不易。”古人得佳帖数行，专心学之，便能名家。盖赵文敏为有元一代大家，岂有道外之语？所谓千古不易者，指笔之肌理言之，非指笔之面目言之也。（《临池管见》）\n朱和羹：子昂得《黄庭》、《乐毅》法居多。邢子愿谓右军以后惟赵吴兴得正衣钵，唐、宋人皆不及也。（《临池心解》）\n康有为：吴兴、香光，并伤怯弱，如璇闺静女，拈花斗草，妍妙可观念更新，若举石臼，面不失容，则非其任矣。自元、明来，精榜书者殊鲜，以碑学之不兴也。（《广艺舟双楫》）\n柯劭忞：①赵孟頫以宋宗室之俊，委贽事元，跻于通显。其在《大雅》之诗日：‘殷土肤敏，裸将于京。’刘向以为悯微子之朝周，故君子不责孟頫，而为赵氏悯也。 ②杨载称孟頫之才为书画所掩，知其书画，不知其文章，知其文章，不知其经济之不。人以为知言。\n马宗霍：元赵子昂以书法称雄一世，落笔如风雨，一日能书一万字，名既振，天竺有僧数万里来求其书，归国中宝之。\n\n轶事典故\n佛教因缘\n赵孟頫是高僧中峰明本的弟子。 赵孟頫生前的最后一封信是给中峰明本的《疮痍帖》，写于去世前半个月。赵孟頫信仰佛教、皈依中峰明本之后，把写经当作积累功德之资，为后人创造了一笔宝贵的财富。赵孟頫对佛法的信仰，对他虚淡谦和的书画风格也产生了很大的影响，如《鹊华秋色图》《水村图》《江山萧寺图》等画。\n\n援作春题\n元朝时，扬州有个姓赵的人，富裕而喜欢招待客人。他的家里有明月楼，人们替楼写春联，大多无法符合主人的想法。一天，赵孟頫路过扬州，主人知道这件事，把他迎接到明月楼上，用丰盛的酒席款待他，席上所用的都是银制的器具。酒过半巡，主人拿出纸笔，请求赵孟頫替他写春联。赵孟頫拿起笔即写道：“春风阆苑三千客，明月扬州第一楼。”主人得到春联后，非常高兴，把酒具全部撤下并把它们送给赵孟頫。\n\n衣冠盛事\n赵孟頫原因程钜夫的举荐而以兵部郎中入仕元朝的。后来程钜夫任翰林学士承旨时辞官归家，朝廷命赵孟頫接替他任职。赵孟頫就任后，先去拜谒程钜夫，然后再进入翰林院视事，此事被当时的士大夫传为佳话。\n\n一家皆善书\n赵孟頫的二子赵雍、赵奕并以书画知名，而其夫人管道升聪敏过人，能书善词，绘画精于墨竹、梅、兰，笔意精绝。元仁宗曾取管道升的书法，与赵孟頫及其次子赵雍的书法用玉轴精装，钤上御印藏于秘书监，说：“让后世知道我朝有一家的夫妇父子都善书，这也是奇事啊！”\n\n人际关系\n赵孟頫交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。\n\n后世纪念\n墓葬\n赵孟頫墓位于浙江省湖州市德清县洛舍东衡里“阳林堂”别业东南侧。此墓穴为赵孟頫和夫人管道升的合葬墓。赵孟頫墓穴距地下约1.5米，长3 米，宽2.6米，墓为石棺双室墓，墓前有石马一匹，石朝官二尊。\n1319年，管道升下葬于于此；1322年，赵孟頫卒，与管道升合葬；这年秋，赵孟頫获赠魏国公，墓地规模扩大。1915年加土修理，立墓碑；1992年发现地下墓穴，8月被列为县级文物保护单位；1993年，德清县人民政府修复墓地。\n2013年5月，被国务院核定为全国重点文物保护单位。 同年，对墓周边又进行了绿化，墓前石人石马重新安放，泥沙地也铺成了大理石。\n\n故居\n赵孟頫故居位于浙江省湖州市所前街月河桥西侧孙衙河头（甘棠桥南）。1994年被湖州市政府以“赵孟頫故居”之名列为市级文保单位，2003年更名为“赵孟頫故居旧址”。纪念馆于2009年上半年开始保护性改建，至2011年上半年完成，2012年1月正式对外开放。\n\n艺术馆\n赵孟頫艺术馆位于浙江省湖州市莲花庄路的中国湖笔博物馆内，于2001年9月建成开馆。建筑外观歇山顶，飞檐翘角，亭廊楼院皆为仿古式建筑。主体部分设赵孟頫纪念厅、赵孟頫仪式厅，珍藏赵孟頫及其艺术同道等历代书画传世作品37件，书迹刻石38块。\n\n陨石坑\n国际天文学联合会将水星上的一个直径167公里的陨石坑以赵孟頫的名字命名为“赵孟頫陨石坑”。\n\n纪念活动\n2012年及2014年，湖州博物馆举办了两届“赵孟頫奖”全国书法作品展。 2018年3月，“松雪问茶”赵孟頫与茶文化2018书画展在湖州陆羽茶文化研究会名茶展示厅开幕。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg",[],169,"Z",1059,[18,40,57,82,95,112,124,137,153,173,186,199,206,220,234,247,258,270,282,294,305,318,329,345,356,364,381,391,401,422,432,446,456,468,482,490,501,515,523,532,544,558,569,576,589,598,612,623,630,638,648,665,678,693,706,717,726,736,746,756,766,776,788,802,812,822,833,843,853,863,872,881,894,902,912,922,931,941,951,961,970,981,993,1004,1015,1024,1034,1044,1057,1071,1081,1094,1103,1113,1122,1132,1142,1151,1163,1174,1186,1197,1206,1217,1227,1238,1247,1257,1267,1276,1288,1304,1313,1323,1333,1341,1349,1359,1367,1378,1387,1397,1407,1416,1423,1432,1440,1449,1457,1466,1476,1485,1493,1502,1510,1520,1533,1542,1552,1562,1569,1576,1584,1593,1603,1611,1619,1629,1637,1647,1655,1664,1673,1680,1688,1696,1704,1711,1720,1728,1737,1746,1754,1762,1791,1799,1807,1816,1824,1833,1843,1852,1859,1867,1877,1884,1892,1900,1907,1917,1925,1933,1940,1949,1957,1966,1975,1984,1991,1998,2005,2012,2019,2026,2033,2040,2049,2056,2062,2070,2077,2084,2091,2100,2107,2114,2121,2128,2135,2142,2149,2156,2164,2174,2185],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":38,"mainColor":39},214293,"xiao-kai-luo-shen-fu-ce-1-zhao-meng-fu-214293","小楷洛神赋册-1","北京故宫博物院","笔触薄而有力，结体饶有兴味，风格清俊，让人在奢华中看到真正的朴素。",[25,26,27,28,29,30],"高清","书画","书法","楷书","册","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786b735d9237c068e6f611d7dced6895.jpg","纸本,水墨","25.7x12.6","书法精选",[34],2204,13,0,"795548",{"id":41,"slug":42,"title":43,"dynasty":8,"author":7,"museum":22,"description":44,"tags":45,"thumbUrl":51,"material":32,"size":52,"collection":34,"collections":53,"showCount":54,"zanCount":55,"manualWeight":38,"mainColor":56},214286,"xiao-kai-dao-de-jing-juan-zhao-meng-fu-214286","小楷道德经卷","《小楷道德经卷》以小楷书法体风为主，结合了行书、草书的特点，在保留传统书法美感的同时又有别于传统。赵孟頫在书写《道德经》时，注重书体的整体性和结构的美感，使之成为一部精美的书法作品。\n\n《小楷道德经卷》被认为是赵孟頫书法创作的巅峰之作，其书法造型优美、结构严谨，在当时也受到了广泛的好评。如今，《小楷道德经卷》也是收藏家们喜闻乐见的书法珍品。",[27,28,46,47,48,49,50],"小楷","长卷","墨迹","写经","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7b66d6690e15f9b43c843b20904fb3.jpg","24.5x618.6",[34],1521,21,"BDBDBD",{"id":58,"slug":59,"title":60,"dynasty":8,"author":7,"museum":61,"description":62,"tags":63,"thumbUrl":77,"material":78,"size":78,"collection":78,"collections":79,"showCount":80,"zanCount":81,"manualWeight":38,"mainColor":56},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","藏地不详","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[64,26,47,65,30,66,50,67,27,68,69,70,71,72,73,74,75,76],"国画","设色","皴法","行书","山水","山","树","房屋","河流","小船","芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg","",[],666,12,{"id":83,"slug":84,"title":85,"dynasty":8,"author":7,"museum":22,"description":86,"tags":87,"thumbUrl":89,"material":32,"size":90,"collection":91,"collections":92,"showCount":93,"zanCount":94,"manualWeight":38,"mainColor":56},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[25,64,26,47,30,67,50,88],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米","花鸟画精选",[91],566,3,{"id":96,"slug":97,"title":98,"dynasty":8,"author":7,"museum":99,"description":100,"tags":101,"thumbUrl":106,"material":107,"size":108,"collection":109,"collections":110,"showCount":111,"zanCount":5,"manualWeight":38,"mainColor":39},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","台北故宫博物院","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[25,64,26,47,102,65,103,104,68,105],"白描","人物","老树","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","绢本,设色","27x72.5","人物画精选",[109],533,{"id":113,"slug":114,"title":115,"dynasty":8,"author":7,"museum":99,"description":116,"tags":117,"thumbUrl":119,"material":32,"size":120,"collection":34,"collections":121,"showCount":122,"zanCount":123,"manualWeight":38,"mainColor":56},214219,"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[25,27,67,50,118],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[34],521,4,{"id":125,"slug":126,"title":127,"dynasty":8,"author":7,"museum":22,"description":128,"tags":129,"thumbUrl":131,"material":132,"size":133,"collection":34,"collections":134,"showCount":135,"zanCount":136,"manualWeight":38,"mainColor":56},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[25,130,64,26,47,67,27,118,50],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[34],449,11,{"id":138,"slug":139,"title":140,"dynasty":8,"author":7,"museum":22,"description":141,"tags":142,"thumbUrl":144,"material":145,"size":146,"collection":147,"collections":148,"showCount":150,"zanCount":151,"manualWeight":38,"mainColor":152},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[25,64,26,30,143,104,88,66,50],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纸本","纵27.5cm，横62.8cm","水墨画精选",[147,149],"竹石精选",322,7,"F48FB1",{"id":154,"slug":155,"title":156,"dynasty":157,"author":7,"museum":22,"description":158,"tags":159,"thumbUrl":167,"material":168,"size":169,"collection":170,"collections":171,"showCount":172,"zanCount":123,"manualWeight":38,"mainColor":39},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","宋","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[25,130,64,26,160,65,161,162,103,68,163,164,165,166],"立轴","工笔","松","琴","石头","树木","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米","宋画精选",[170],265,{"id":174,"slug":175,"title":176,"dynasty":8,"author":7,"museum":177,"description":178,"tags":179,"thumbUrl":181,"material":145,"size":182,"collection":34,"collections":183,"showCount":185,"zanCount":94,"manualWeight":38,"mainColor":56},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","日本京都国立博物馆","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[25,27,28,180,47],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[34,184],"碑帖精选",230,{"id":187,"slug":188,"title":189,"dynasty":8,"author":7,"museum":22,"description":190,"tags":191,"thumbUrl":193,"material":194,"size":195,"collection":109,"collections":196,"showCount":198,"zanCount":5,"manualWeight":38,"mainColor":56},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[25,64,26,47,65,161,103,192,27,50],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[109,197],"设色画精选",227,{"id":200,"slug":201,"title":202,"dynasty":8,"author":7,"museum":22,"description":23,"tags":203,"thumbUrl":204,"material":32,"size":33,"collection":78,"collections":205,"showCount":198,"zanCount":38,"manualWeight":38,"mainColor":39},214292,"xiao-kai-luo-shen-fu-ce-3-zhao-meng-fu-214292","小楷洛神赋册-3",[25,26,28,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5946eea434a0e97c747c9c1569b0c.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":8,"author":7,"museum":99,"description":210,"tags":211,"thumbUrl":214,"material":215,"size":216,"collection":197,"collections":217,"showCount":218,"zanCount":219,"manualWeight":38,"mainColor":39},219414,"ke-mu-zhu-shi-zhou-zhao-meng-fu-219414","窠木竹石轴","枯木枝干如篆籀盘曲，老而弥坚；新竹嫩梢似行草舒展，清劲秀逸。墨叶撇捺带笔意，坡石皴染见骨力，淡墨晕染出朴拙纹理，与劲竹枯树相映成趣。全图不施华彩，仅以水墨浓淡干湿，写尽草木石的情态。赵孟頫以书入画，将文人笔墨修养融入物象，简率构图里藏着对生命枯荣的静观，清寂中透出坚守——竹之劲节、石之沉稳、木之苍劲，皆是文人品格的投射，于宋元画坛间，绽放出文人画的清雅风骨。",[64,26,130,160,30,212,88,213,66],"枯树","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F355b183f4da0c687b3cba7d72789da7c.jpg","绢本,水墨","纵99.4厘米，横48.2厘米",[197],221,2,{"id":221,"slug":222,"title":223,"dynasty":8,"author":7,"museum":22,"description":224,"tags":225,"thumbUrl":228,"material":229,"size":230,"collection":109,"collections":231,"showCount":232,"zanCount":233,"manualWeight":38,"mainColor":39},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[25,130,64,26,47,161,65,192,226,103,165,227,50,27,67],"牛","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","绢本，设色","纵28.5厘米，横154厘米。",[109,197],220,6,{"id":235,"slug":236,"title":237,"dynasty":8,"author":7,"museum":238,"description":239,"tags":240,"thumbUrl":243,"material":145,"size":244,"collection":245,"collections":246,"showCount":232,"zanCount":123,"manualWeight":38,"mainColor":56},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","美国大都会艺术博物馆","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[64,26,47,30,66,68,162,241,242,50],"山石","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米","山水画精选",[245,147],{"id":248,"slug":249,"title":250,"dynasty":8,"author":7,"museum":99,"description":251,"tags":252,"thumbUrl":254,"material":145,"size":255,"collection":34,"collections":256,"showCount":257,"zanCount":219,"manualWeight":38,"mainColor":56},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[25,130,64,26,47,67,102,30,65,103,68,242,227,253,143,50],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[34],207,{"id":259,"slug":260,"title":261,"dynasty":8,"author":7,"museum":22,"description":262,"tags":263,"thumbUrl":266,"material":229,"size":267,"collection":91,"collections":268,"showCount":269,"zanCount":219,"manualWeight":38,"mainColor":39},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[25,64,26,47,65,161,67,27,192,103,70,264,265,227,50],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[91,197],206,{"id":271,"slug":272,"title":273,"dynasty":8,"author":7,"museum":22,"description":274,"tags":275,"thumbUrl":277,"material":278,"size":279,"collection":147,"collections":280,"showCount":281,"zanCount":219,"manualWeight":38,"mainColor":39},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[25,64,26,160,30,66,88,143,276],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","绢本，墨笔","纵108.2厘米，横48.8厘米",[147,149],205,{"id":283,"slug":284,"title":285,"dynasty":8,"author":7,"museum":22,"description":286,"tags":287,"thumbUrl":288,"material":289,"size":290,"collection":109,"collections":291,"showCount":292,"zanCount":123,"manualWeight":38,"mainColor":293},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[25,64,26,47,65,161,192,103,70,227,226,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","绢本","纵28.5cm,横154cm",[109,197],198,"37474F",{"id":295,"slug":296,"title":297,"dynasty":8,"author":7,"museum":298,"description":299,"tags":300,"thumbUrl":301,"material":107,"size":302,"collection":109,"collections":303,"showCount":304,"zanCount":123,"manualWeight":38,"mainColor":39},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","大英博物馆","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[25,64,26,47,65,103,192,161,67,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[109],190,{"id":306,"slug":307,"title":308,"dynasty":8,"author":7,"museum":99,"description":309,"tags":310,"thumbUrl":313,"material":314,"size":315,"collection":109,"collections":316,"showCount":304,"zanCount":317,"manualWeight":38,"mainColor":56},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[64,26,160,65,103,311,143,166,312,50],"美人","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","纸本,设色","75.1x26",[109],1,{"id":319,"slug":320,"title":321,"dynasty":8,"author":7,"museum":22,"description":322,"tags":323,"thumbUrl":325,"material":32,"size":326,"collection":245,"collections":327,"showCount":328,"zanCount":219,"manualWeight":38,"mainColor":39},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[25,64,47,30,68,66,27,324,227,242,104],"小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[245],188,{"id":330,"slug":331,"title":332,"dynasty":8,"author":7,"museum":333,"description":334,"tags":335,"thumbUrl":341,"material":107,"size":342,"collection":245,"collections":343,"showCount":344,"zanCount":94,"manualWeight":38,"mainColor":39},218439,"song-shui-ou-meng-tu-zhao-meng-fu-218439","松水鸥盟图","沃雪斋","远处山峰高耸，云雾缭绕，近处河面宽阔，岸边三个高大粗壮的白衣古松文士坐在树荫下，悠闲地望着两只白鸥在芦苇和水面之间相互呼应。人物面容古雅，衣冠楚楚，笔墨沉雄。",[25,64,26,336,65,337,68,338,227,339,103,241,340],"元代","青绿","松树","鸥鸟","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c8c63b2cb7b75579753f1fc9c80340.jpg","150x95cm",[245],170,{"id":346,"slug":347,"title":348,"dynasty":8,"author":7,"museum":349,"description":350,"tags":351,"thumbUrl":352,"material":145,"size":353,"collection":34,"collections":354,"showCount":355,"zanCount":94,"manualWeight":38,"mainColor":56},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[25,130,64,26,47,102,67,49,180,50,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[34],164,{"id":357,"slug":358,"title":359,"dynasty":8,"author":7,"museum":22,"description":23,"tags":360,"thumbUrl":361,"material":32,"size":33,"collection":78,"collections":362,"showCount":363,"zanCount":38,"manualWeight":38,"mainColor":39},214291,"xiao-kai-luo-shen-fu-ce-2-zhao-meng-fu-214291","小楷洛神赋册-2",[25,26,27,28,46,29,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df43ff9eb6f3472d958c7858636f68.jpg",[],162,{"id":365,"slug":366,"title":367,"dynasty":8,"author":7,"museum":368,"description":369,"tags":370,"thumbUrl":377,"material":289,"size":378,"collection":34,"collections":379,"showCount":380,"zanCount":94,"manualWeight":38,"mainColor":56},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","上海博物馆","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[25,47,27,67,242,371,253,372,373,69,374,375,376,50],"夕阳","秋风","江","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[34],161,{"id":382,"slug":383,"title":384,"dynasty":8,"author":7,"museum":298,"description":385,"tags":386,"thumbUrl":388,"material":107,"size":389,"collection":91,"collections":390,"showCount":380,"zanCount":219,"manualWeight":38,"mainColor":39},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[25,64,26,47,161,65,192,387],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[91],{"id":392,"slug":393,"title":394,"dynasty":8,"author":7,"museum":22,"description":395,"tags":396,"thumbUrl":397,"material":145,"size":398,"collection":34,"collections":399,"showCount":400,"zanCount":123,"manualWeight":38,"mainColor":56},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《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。《黄庭经》引，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，有秀美开朗之意态。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》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[25,27,49,28,47,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[34],159,{"id":402,"slug":403,"title":404,"dynasty":8,"author":7,"museum":405,"description":406,"tags":407,"thumbUrl":418,"material":145,"size":419,"collection":34,"collections":420,"showCount":421,"zanCount":123,"manualWeight":38,"mainColor":56},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[25,27,67,48,408,409,69,410,411,412,163,413,414,415,416,417],"笔法圆润","结体秀逸","水","龙","仙","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[34],156,{"id":423,"slug":424,"title":425,"dynasty":8,"author":7,"museum":426,"description":427,"tags":428,"thumbUrl":430,"material":107,"size":78,"collection":91,"collections":431,"showCount":421,"zanCount":123,"manualWeight":38,"mainColor":39},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","私人收藏","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[25,64,26,130,65,161,29,103,192,429,387],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[91],{"id":433,"slug":434,"title":435,"dynasty":8,"author":7,"museum":22,"description":436,"tags":437,"thumbUrl":441,"material":442,"size":443,"collection":245,"collections":444,"showCount":445,"zanCount":219,"manualWeight":38,"mainColor":56},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[25,64,26,47,30,68,67,50,66,69,410,438,165,72,439,440],"村庄","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纸本，水墨","纵24.9厘米，横120.5厘米。",[245,147],149,{"id":447,"slug":448,"title":449,"dynasty":8,"author":7,"museum":99,"description":450,"tags":451,"thumbUrl":452,"material":145,"size":453,"collection":78,"collections":454,"showCount":455,"zanCount":219,"manualWeight":38,"mainColor":39},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[25,64,26,47,30,65,68,165,438,72,71,67,27,50,66,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":457,"slug":458,"title":459,"dynasty":8,"author":7,"museum":99,"description":460,"tags":461,"thumbUrl":464,"material":65,"size":465,"collection":245,"collections":466,"showCount":467,"zanCount":317,"manualWeight":38,"mainColor":56},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[25,130,64,26,160,65,66,68,338,241,227,462,103,463,50],"亭","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[245,197],134,{"id":469,"slug":470,"title":471,"dynasty":8,"author":7,"museum":99,"description":472,"tags":473,"thumbUrl":478,"material":32,"size":479,"collection":245,"collections":480,"showCount":481,"zanCount":219,"manualWeight":38,"mainColor":56},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[25,64,130,26,47,30,66,67,50,68,474,242,165,475,476,477],"江河","山峦","岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[245],133,{"id":483,"slug":484,"title":485,"dynasty":8,"author":7,"museum":22,"description":23,"tags":486,"thumbUrl":487,"material":32,"size":33,"collection":78,"collections":488,"showCount":489,"zanCount":38,"manualWeight":38,"mainColor":39},214290,"xiao-kai-luo-shen-fu-ce-4-zhao-meng-fu-214290","小楷洛神赋册-4",[25,27,28,46,29,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d91818c9b6238032d2985f530917771.jpg",[],130,{"id":491,"slug":492,"title":493,"dynasty":8,"author":7,"museum":99,"description":494,"tags":495,"thumbUrl":497,"material":145,"size":498,"collection":245,"collections":499,"showCount":500,"zanCount":38,"manualWeight":38,"mainColor":39},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[25,130,64,47,337,65,68,241,165,324,496,66],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[245,197],128,{"id":502,"slug":503,"title":504,"dynasty":8,"author":7,"museum":22,"description":505,"tags":506,"thumbUrl":511,"material":107,"size":512,"collection":109,"collections":513,"showCount":514,"zanCount":123,"manualWeight":38,"mainColor":56},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[25,336,26,47,65,161,103,192,507,67,508,27,509,510],"鞍马","墨笔","人物画","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[109,34],127,{"id":516,"slug":517,"title":518,"dynasty":8,"author":7,"museum":426,"description":427,"tags":519,"thumbUrl":520,"material":107,"size":78,"collection":91,"collections":521,"showCount":522,"zanCount":123,"manualWeight":38,"mainColor":39},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[25,64,26,130,29,65,161,102,103,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[91],126,{"id":524,"slug":525,"title":526,"dynasty":8,"author":7,"museum":426,"description":527,"tags":528,"thumbUrl":529,"material":215,"size":78,"collection":91,"collections":530,"showCount":531,"zanCount":123,"manualWeight":38,"mainColor":39},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[25,64,130,102,161,30,65,103,192,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[91,109],125,{"id":533,"slug":534,"title":535,"dynasty":8,"author":7,"museum":22,"description":536,"tags":537,"thumbUrl":539,"material":540,"size":541,"collection":34,"collections":542,"showCount":543,"zanCount":317,"manualWeight":38,"mainColor":39},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[25,538,67,47,27,26,118,30,50],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[34],123,{"id":545,"slug":546,"title":547,"dynasty":8,"author":7,"museum":548,"description":549,"tags":550,"thumbUrl":555,"material":145,"size":556,"collection":34,"collections":557,"showCount":543,"zanCount":123,"manualWeight":38,"mainColor":56},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[25,27,67,47,26,30,50,242,551,227,552,553,554],"飞鸟","孤松","菊","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[34],{"id":559,"slug":560,"title":561,"dynasty":8,"author":7,"museum":562,"description":563,"tags":564,"thumbUrl":565,"material":145,"size":566,"collection":34,"collections":567,"showCount":568,"zanCount":123,"manualWeight":38,"mainColor":56},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[25,26,27,28,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[34],120,{"id":570,"slug":571,"title":572,"dynasty":8,"author":7,"museum":22,"description":23,"tags":573,"thumbUrl":574,"material":32,"size":33,"collection":78,"collections":575,"showCount":568,"zanCount":38,"manualWeight":38,"mainColor":39},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[25,130,26,27,28,46,118,29,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":577,"slug":578,"title":579,"dynasty":8,"author":7,"museum":22,"description":580,"tags":581,"thumbUrl":585,"material":145,"size":586,"collection":34,"collections":587,"showCount":588,"zanCount":94,"manualWeight":38,"mainColor":56},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[25,27,582,583,47,145,584,118,50],"真书","草书","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[34],118,{"id":590,"slug":591,"title":261,"dynasty":8,"author":7,"museum":22,"description":262,"tags":592,"thumbUrl":595,"material":229,"size":78,"collection":91,"collections":596,"showCount":597,"zanCount":94,"manualWeight":38,"mainColor":56},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[25,65,161,47,27,50,192,165,72,103,593,68,594],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[91,197],112,{"id":599,"slug":600,"title":601,"dynasty":8,"author":7,"museum":22,"description":602,"tags":603,"thumbUrl":607,"material":608,"size":609,"collection":109,"collections":610,"showCount":611,"zanCount":317,"manualWeight":38,"mainColor":39},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[25,64,26,160,65,161,103,50,604,605,606],"衣冠","床榻","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纸本设色","纵208.4厘米,横100.6厘米",[109,197],109,{"id":613,"slug":614,"title":615,"dynasty":8,"author":7,"museum":616,"description":617,"tags":618,"thumbUrl":619,"material":620,"size":621,"collection":91,"collections":622,"showCount":611,"zanCount":38,"manualWeight":38,"mainColor":56},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[25,64,26,47,30,387,50,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[91,147],{"id":624,"slug":625,"title":626,"dynasty":8,"author":7,"museum":22,"description":23,"tags":627,"thumbUrl":628,"material":32,"size":33,"collection":78,"collections":629,"showCount":611,"zanCount":38,"manualWeight":38,"mainColor":39},214287,"xiao-kai-luo-shen-fu-ce-7-zhao-meng-fu-214287","小楷洛神赋册-7",[25,27,28,46,29,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4e88283185d4fe6e63d850029edd7b.jpg",[],{"id":631,"slug":632,"title":633,"dynasty":8,"author":7,"museum":22,"description":23,"tags":634,"thumbUrl":635,"material":32,"size":33,"collection":78,"collections":636,"showCount":637,"zanCount":38,"manualWeight":38,"mainColor":39},214289,"xiao-kai-luo-shen-fu-ce-6-zhao-meng-fu-214289","小楷洛神赋册-6",[25,26,29,28,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adfde336f0c590edf552acd45006506.jpg",[],108,{"id":639,"slug":640,"title":641,"dynasty":8,"author":7,"museum":99,"description":141,"tags":642,"thumbUrl":643,"material":644,"size":645,"collection":147,"collections":646,"showCount":647,"zanCount":94,"manualWeight":38,"mainColor":39},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[25,64,26,160,30,66,67,50,104,143,88,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","白纸本","纵27.5厘米，横62.8厘米",[147,149],105,{"id":649,"slug":650,"title":651,"dynasty":8,"author":7,"museum":368,"description":652,"tags":653,"thumbUrl":661,"material":107,"size":662,"collection":109,"collections":663,"showCount":664,"zanCount":317,"manualWeight":38,"mainColor":39},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[64,65,161,654,655,103,462,165,656,241,265,657,496,658,659,660],"文人画","梧桐","围栏","栏杆","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","29.5x59.7厘米",[109],101,{"id":666,"slug":667,"title":668,"dynasty":8,"author":7,"museum":61,"description":669,"tags":670,"thumbUrl":673,"material":674,"size":675,"collection":78,"collections":676,"showCount":677,"zanCount":317,"manualWeight":38,"mainColor":39},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","西园雅集图","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[130,64,160,65,103,462,104,671,27,672,241,165],"文人雅集","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg","未知","Xcm*Xcm",[],98,{"id":679,"slug":680,"title":681,"dynasty":8,"author":7,"museum":99,"description":682,"tags":683,"thumbUrl":690,"material":644,"size":691,"collection":34,"collections":692,"showCount":677,"zanCount":219,"manualWeight":38,"mainColor":56},220830,"shu-lun-yu-shi-nan-pei-xing-jian-shu-fa-zhao-meng-fu-220830","书论虞世南裴行俭书法","赵孟頫《论裴行俭书法》行书，来源于赵孟頫与鲜于枢墨迹合册之二\u002F论裴行俭帖。\n唐高宗曾经赐裴行俭白绢，命他书写《昭明文选》。高宗观赏之后，喜爱其用笔的法度，赏赐颇为丰厚。史载裴行俭曾说：“如果不是精美的笔和墨，褚遂良还不曾经常写。不选择笔、墨的好坏而能写得机灵敏捷的，只有我和虞世南而已。”他撰写《选谱》、《草字杂体》等书，有好几万字。\n释文：裴行俭工草隶，名家。帝尝以绢素诏写《文选》，览之，秘爱其法，赉物良厚。行俭每曰：“褚遂良非精笔佳墨，未尝辄书，不择笔墨而妍捷者，余与虞世南耳。”所譔《选谱》、《草字杂体》数万言。又为营阵、部伍、料胜负、别器能等四十六诀，武后使武承嗣就第取去，不复传。\n裴行俭，是大唐军神苏烈的徒弟，“儒将之雄”是对他最好的评价。裴行俭，字守约，绛州闻喜人。唐朝名将、政治家、书法家，隋朝礼部尚书裴仁基次子。裴行俭精通阴阳历法，善于鉴别人才。他工于书法，尤擅草、隶。有文集二十卷，并著有《草字杂体》、《选谱》及兵法秘诀四十六条。 裴行俭不仅是政治家，还是书法家，赵孟頫此帖，记录的便是裴行俭书法。",[27,67,145,50,684,685,686,687,688,689],"圆转流畅","结构严谨","笔法娴熟","复古风格","笔墨细腻","结体端庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbc471608779f041aedd9ec4c182bdb.jpg","38.4x60.6cm",[34],{"id":694,"slug":695,"title":696,"dynasty":8,"author":7,"museum":22,"description":697,"tags":698,"thumbUrl":701,"material":702,"size":703,"collection":245,"collections":704,"showCount":705,"zanCount":123,"manualWeight":38,"mainColor":39},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[25,64,65,68,103,192,70,241,463,699,496,700,66],"古道","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[245,197],97,{"id":707,"slug":708,"title":709,"dynasty":8,"author":7,"museum":99,"description":710,"tags":711,"thumbUrl":714,"material":215,"size":715,"collection":34,"collections":716,"showCount":705,"zanCount":317,"manualWeight":38,"mainColor":56},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[130,64,26,27,160,67,30,68,712,104,713,227],"桃花","孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[34],{"id":718,"slug":719,"title":720,"dynasty":8,"author":7,"museum":22,"description":721,"tags":722,"thumbUrl":12,"material":145,"size":723,"collection":34,"collections":724,"showCount":725,"zanCount":219,"manualWeight":38,"mainColor":56},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[25,130,64,26,47,67,27,50],"27.5*144cm",[34],92,{"id":727,"slug":728,"title":729,"dynasty":8,"author":7,"museum":238,"description":730,"tags":731,"thumbUrl":732,"material":145,"size":733,"collection":109,"collections":734,"showCount":735,"zanCount":317,"manualWeight":38,"mainColor":39},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[25,64,26,47,65,161,27,67,103,165,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[109,147],89,{"id":737,"slug":738,"title":739,"dynasty":8,"author":7,"museum":22,"description":740,"tags":741,"thumbUrl":742,"material":28,"size":743,"collection":34,"collections":744,"showCount":745,"zanCount":219,"manualWeight":38,"mainColor":56},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[25,26,27,47,28,180,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 166厘米",[34],87,{"id":747,"slug":748,"title":749,"dynasty":8,"author":7,"museum":99,"description":750,"tags":751,"thumbUrl":752,"material":145,"size":753,"collection":34,"collections":754,"showCount":755,"zanCount":219,"manualWeight":38,"mainColor":56},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[25,27,67,47,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[34],86,{"id":757,"slug":758,"title":759,"dynasty":8,"author":7,"museum":22,"description":760,"tags":761,"thumbUrl":762,"material":289,"size":763,"collection":34,"collections":764,"showCount":765,"zanCount":317,"manualWeight":38,"mainColor":39},220880,"qian-zi-wen-zhao-meng-fu-220880","千字文","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[25,26,27,67,28,47,118,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[34],85,{"id":767,"slug":768,"title":769,"dynasty":8,"author":7,"museum":349,"description":770,"tags":771,"thumbUrl":772,"material":145,"size":773,"collection":34,"collections":774,"showCount":775,"zanCount":317,"manualWeight":38,"mainColor":56},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[25,130,64,26,47,180,67,27,49,50,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[34],84,{"id":777,"slug":778,"title":779,"dynasty":8,"author":7,"museum":99,"description":780,"tags":781,"thumbUrl":784,"material":289,"size":785,"collection":245,"collections":786,"showCount":787,"zanCount":38,"manualWeight":38,"mainColor":39},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[25,64,26,160,65,68,338,242,103,241,165,782,783,66],"湖面","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[245,197],82,{"id":789,"slug":790,"title":791,"dynasty":8,"author":7,"museum":368,"description":792,"tags":793,"thumbUrl":799,"material":289,"size":800,"collection":245,"collections":801,"showCount":787,"zanCount":317,"manualWeight":38,"mainColor":56},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[25,64,26,47,30,67,27,68,66,794,795,796,227,797,165,242,551,72,798],"烟江","叠嶂","山峰","云气","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[245,147],{"id":803,"slug":804,"title":805,"dynasty":8,"author":7,"museum":99,"description":806,"tags":807,"thumbUrl":809,"material":107,"size":810,"collection":170,"collections":811,"showCount":787,"zanCount":317,"manualWeight":38,"mainColor":56},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[25,64,26,808,65,68,66,462,162,241,324,165],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[170],{"id":813,"slug":814,"title":815,"dynasty":8,"author":7,"museum":22,"description":816,"tags":817,"thumbUrl":818,"material":145,"size":819,"collection":34,"collections":820,"showCount":821,"zanCount":38,"manualWeight":38,"mainColor":56},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[25,67,27,26,29,50,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[34],76,{"id":823,"slug":824,"title":825,"dynasty":8,"author":7,"museum":368,"description":549,"tags":826,"thumbUrl":830,"material":145,"size":831,"collection":34,"collections":832,"showCount":821,"zanCount":219,"manualWeight":38,"mainColor":56},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[25,26,27,47,67,552,827,162,553,554,828,69,829],"舟","鸟","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[34],{"id":834,"slug":835,"title":836,"dynasty":8,"author":7,"museum":368,"description":837,"tags":838,"thumbUrl":840,"material":145,"size":841,"collection":34,"collections":842,"showCount":821,"zanCount":317,"manualWeight":38,"mainColor":56},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[25,64,26,27,47,67,180,839,50],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[34],{"id":844,"slug":845,"title":846,"dynasty":8,"author":7,"museum":99,"description":847,"tags":848,"thumbUrl":849,"material":289,"size":850,"collection":78,"collections":851,"showCount":852,"zanCount":317,"manualWeight":38,"mainColor":56},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[64,26,30,66,88,213,143,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],75,{"id":854,"slug":855,"title":856,"dynasty":8,"author":7,"museum":99,"description":857,"tags":858,"thumbUrl":859,"material":289,"size":860,"collection":34,"collections":861,"showCount":862,"zanCount":38,"manualWeight":38,"mainColor":293},220854,"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[26,27,49,67,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[34],74,{"id":864,"slug":865,"title":866,"dynasty":8,"author":7,"museum":22,"description":867,"tags":868,"thumbUrl":869,"material":145,"size":870,"collection":34,"collections":871,"showCount":862,"zanCount":219,"manualWeight":38,"mainColor":56},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[25,27,67,47,50,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[34],{"id":873,"slug":874,"title":875,"dynasty":8,"author":7,"museum":99,"description":876,"tags":877,"thumbUrl":878,"material":215,"size":879,"collection":34,"collections":880,"showCount":862,"zanCount":38,"manualWeight":38,"mainColor":39},214387,"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[64,26,27,67,160,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[34],{"id":882,"slug":883,"title":884,"dynasty":8,"author":7,"museum":885,"description":886,"tags":887,"thumbUrl":889,"material":890,"size":891,"collection":34,"collections":892,"showCount":893,"zanCount":219,"manualWeight":38,"mainColor":293},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","辽宁省博物馆","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[25,27,28,26,336,48,888],"碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","拓本","32x1126厘米",[34],73,{"id":895,"slug":896,"title":897,"dynasty":8,"author":7,"museum":298,"description":898,"tags":899,"thumbUrl":900,"material":107,"size":78,"collection":91,"collections":901,"showCount":893,"zanCount":317,"manualWeight":38,"mainColor":39},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[25,64,26,160,65,161,192,70,27,67,50,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[91],{"id":903,"slug":904,"title":905,"dynasty":8,"author":7,"museum":99,"description":906,"tags":907,"thumbUrl":908,"material":107,"size":909,"collection":109,"collections":910,"showCount":911,"zanCount":38,"manualWeight":38,"mainColor":39},216972,"gong-shou-tu-zhao-meng-fu-216972","拱寿图","这幅画描绘了近100个属于道教神仙故事的人物，他们似乎在进行一场优雅的人间聚会，他们聚集在一起弹琴、喝茶、互相问候。",[64,26,68,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf550c708792ef45d4c8bec0a370f11.jpg","253.7x216.4",[109],72,{"id":913,"slug":914,"title":915,"dynasty":8,"author":7,"museum":61,"description":916,"tags":917,"thumbUrl":919,"material":674,"size":675,"collection":78,"collections":920,"showCount":921,"zanCount":38,"manualWeight":38,"mainColor":39},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[130,64,47,337,65,68,338,103,918],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],71,{"id":923,"slug":924,"title":925,"dynasty":8,"author":7,"museum":885,"description":926,"tags":927,"thumbUrl":928,"material":145,"size":929,"collection":34,"collections":930,"showCount":921,"zanCount":94,"manualWeight":38,"mainColor":56},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[25,67,27,47,26,50,65,103,30,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[34],{"id":932,"slug":933,"title":934,"dynasty":8,"author":7,"museum":99,"description":935,"tags":936,"thumbUrl":937,"material":314,"size":938,"collection":109,"collections":939,"showCount":940,"zanCount":38,"manualWeight":38,"mainColor":56},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[25,64,26,47,65,68,103,27,67,50,165,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[109],70,{"id":942,"slug":943,"title":944,"dynasty":8,"author":7,"museum":99,"description":945,"tags":946,"thumbUrl":947,"material":145,"size":948,"collection":34,"collections":949,"showCount":950,"zanCount":317,"manualWeight":38,"mainColor":56},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[25,27,67,160,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[34],67,{"id":952,"slug":953,"title":954,"dynasty":8,"author":7,"museum":368,"description":955,"tags":956,"thumbUrl":957,"material":145,"size":958,"collection":34,"collections":959,"showCount":960,"zanCount":317,"manualWeight":38,"mainColor":56},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[25,26,27,67,47,50,48,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[34],63,{"id":962,"slug":963,"title":964,"dynasty":8,"author":7,"museum":99,"description":460,"tags":965,"thumbUrl":966,"material":107,"size":967,"collection":91,"collections":968,"showCount":969,"zanCount":317,"manualWeight":38,"mainColor":39},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴",[64,160,65,161,103,192,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[91],62,{"id":971,"slug":972,"title":973,"dynasty":8,"author":7,"museum":22,"description":974,"tags":975,"thumbUrl":977,"material":145,"size":978,"collection":34,"collections":979,"showCount":980,"zanCount":317,"manualWeight":38,"mainColor":56},220859,"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[27,67,538,50,47,976],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[34],61,{"id":982,"slug":983,"title":984,"dynasty":8,"author":7,"museum":61,"description":985,"tags":986,"thumbUrl":990,"material":145,"size":991,"collection":245,"collections":992,"showCount":980,"zanCount":38,"manualWeight":38,"mainColor":39},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[25,64,26,987,161,30,988,989,338],"界画","楼阁","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[245,147],{"id":994,"slug":995,"title":996,"dynasty":8,"author":7,"museum":22,"description":997,"tags":998,"thumbUrl":1000,"material":1001,"size":1002,"collection":170,"collections":1003,"showCount":980,"zanCount":38,"manualWeight":38,"mainColor":39},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[25,64,26,47,65,999,88,551,27,50,67],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[170,91,197],{"id":1005,"slug":1006,"title":1007,"dynasty":8,"author":7,"museum":238,"description":1008,"tags":1009,"thumbUrl":1011,"material":145,"size":1012,"collection":34,"collections":1013,"showCount":1014,"zanCount":38,"manualWeight":38,"mainColor":56},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[25,47,27,67,118,50,1010,976],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[34],59,{"id":1016,"slug":1017,"title":449,"dynasty":8,"author":7,"museum":61,"description":1018,"tags":1019,"thumbUrl":1021,"material":674,"size":675,"collection":78,"collections":1022,"showCount":1023,"zanCount":317,"manualWeight":38,"mainColor":39},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[25,130,64,47,26,1020,65,30,66,68,165,71,264,76,72,67,50,27],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":1025,"slug":1026,"title":1027,"dynasty":8,"author":7,"museum":99,"description":1028,"tags":1029,"thumbUrl":1031,"material":107,"size":1032,"collection":91,"collections":1033,"showCount":1023,"zanCount":317,"manualWeight":38,"mainColor":39},218825,"yu-xiang-tu-zhao-meng-fu-218825","浴象图","“洗象图”是中国人物画传统题材，从历代流传下来的《洗象图》卷可见，自宋末至元初，经元到明清其构图基本固定，大致布局都是众人持帚洗扫白象的场景，因其与佛教禅宗之渊源，历来颇受关注。",[64,161,65,103,1030,70,50,387],"大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28237cf2ba3e6056143c46553f0491.jpg","100.7x30.7cm",[91],{"id":1035,"slug":1036,"title":1037,"dynasty":8,"author":7,"museum":885,"description":1038,"tags":1039,"thumbUrl":1040,"material":145,"size":1041,"collection":34,"collections":1042,"showCount":1043,"zanCount":219,"manualWeight":38,"mainColor":56},220866,"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[25,27,67,47,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[34],57,{"id":1045,"slug":1046,"title":1047,"dynasty":8,"author":7,"museum":238,"description":1048,"tags":1049,"thumbUrl":1052,"material":1053,"size":1054,"collection":245,"collections":1055,"showCount":1056,"zanCount":317,"manualWeight":38,"mainColor":39},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[25,130,64,26,47,336,65,161,103,192,227,165,265,241,1050,1051],"树荫","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","绢本设色","横28.1厘米，纵155.5厘米",[245],55,{"id":1058,"slug":1059,"title":1060,"dynasty":8,"author":7,"museum":99,"description":1061,"tags":1062,"thumbUrl":1067,"material":145,"size":1068,"collection":245,"collections":1069,"showCount":1070,"zanCount":38,"manualWeight":38,"mainColor":56},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[64,26,47,30,66,68,373,796,1063,165,1064,1065,1066],"岩石","远山","近石","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[245,147],54,{"id":1072,"slug":1073,"title":1074,"dynasty":8,"author":7,"museum":1075,"description":1076,"tags":1077,"thumbUrl":1078,"material":107,"size":1079,"collection":109,"collections":1080,"showCount":1070,"zanCount":219,"manualWeight":38,"mainColor":56},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","美国弗利尔美术馆","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[25,47,161,65,27,50,192,387,70,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[109,197],{"id":1082,"slug":1083,"title":1084,"dynasty":8,"author":7,"museum":1085,"description":1086,"tags":1087,"thumbUrl":1089,"material":1090,"size":1091,"collection":34,"collections":1092,"showCount":1093,"zanCount":219,"manualWeight":38,"mainColor":56},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[25,26,47,67,27,30,50,554,1088,68],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[34],52,{"id":1095,"slug":1096,"title":1097,"dynasty":8,"author":7,"museum":22,"description":274,"tags":1098,"thumbUrl":1099,"material":278,"size":1100,"collection":147,"collections":1101,"showCount":1102,"zanCount":38,"manualWeight":38,"mainColor":39},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","古木竹石图轴",[25,64,26,130,160,30,102,104,88,143,276,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[147,149],51,{"id":1104,"slug":1105,"title":1106,"dynasty":8,"author":7,"museum":99,"description":1107,"tags":1108,"thumbUrl":1109,"material":215,"size":1110,"collection":78,"collections":1111,"showCount":1112,"zanCount":38,"manualWeight":38,"mainColor":56},214362,"zhu-shi-tu-zhao-meng-fu-214362","竹石图","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[25,130,64,26,30,29,88,213,143,50,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],49,{"id":1114,"slug":1115,"title":1116,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1117,"thumbUrl":1119,"material":674,"size":675,"collection":78,"collections":1120,"showCount":1121,"zanCount":38,"manualWeight":38,"mainColor":39},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴",[64,130,160,65,337,103,68,338,241,1118],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":1123,"slug":1124,"title":1125,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1126,"thumbUrl":1129,"material":674,"size":675,"collection":78,"collections":1130,"showCount":1131,"zanCount":38,"manualWeight":38,"mainColor":56},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷",[130,64,26,47,67,27,118,1127,1128,311,50],"洛神","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg",[],47,{"id":1133,"slug":1134,"title":1135,"dynasty":8,"author":7,"museum":99,"description":1136,"tags":1137,"thumbUrl":1139,"material":145,"size":1140,"collection":34,"collections":1141,"showCount":1131,"zanCount":317,"manualWeight":38,"mainColor":56},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[25,27,67,30,26,336,1138,50],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[34],{"id":1143,"slug":1144,"title":1145,"dynasty":8,"author":7,"museum":426,"description":1146,"tags":1147,"thumbUrl":1148,"material":107,"size":1149,"collection":91,"collections":1150,"showCount":1131,"zanCount":38,"manualWeight":38,"mainColor":39},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[64,130,26,65,103,192,104,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[91],{"id":1152,"slug":1153,"title":1154,"dynasty":8,"author":7,"museum":22,"description":1155,"tags":1156,"thumbUrl":1158,"material":1159,"size":1160,"collection":109,"collections":1161,"showCount":1162,"zanCount":94,"manualWeight":38,"mainColor":56},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[25,64,26,29,65,161,103,88,164,1157,227],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","绢本，设色画","纵24cm，横23cm",[109,197],46,{"id":1164,"slug":1165,"title":1166,"dynasty":8,"author":7,"museum":61,"description":1167,"tags":1168,"thumbUrl":1171,"material":78,"size":78,"collection":78,"collections":1172,"showCount":1173,"zanCount":219,"manualWeight":38,"mainColor":293},228167,"guan-gong-wu-shi-san-sui-yi-xiang-zhao-meng-fu-228167","关公五十三岁遗像","画面里关公踞坐案前，轻捋美髯凝视卷册，案上烛台、典籍错落，沉静间自有武圣威严。身旁武士戎装侍立，身姿恭谨，衬得主位人物气度沉凝。\n\n衣纹线条凝练劲挺，设色苍雅古拙，将关公的儒雅斯文与武将的豪壮气度相融，尽显其忠义千秋的风骨。题字古意盎然，补足人物生平意蕴，整体笔墨带着特有的简淡苍劲，把武圣的精神气韵刻画入微，是形神兼备的经典人物佳作。",[25,64,26,65,161,103,1169,1170,1010],"服饰","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3321d64766a7b4f4db359c8e366a00b.jpg",[],44,{"id":1175,"slug":1176,"title":1177,"dynasty":8,"author":7,"museum":1178,"description":1179,"tags":1180,"thumbUrl":1182,"material":1183,"size":1184,"collection":34,"collections":1185,"showCount":1173,"zanCount":123,"manualWeight":38,"mainColor":39},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","天津博物馆","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[25,27,49,47,28,30,180,50,1181],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[34],{"id":1187,"slug":1188,"title":1189,"dynasty":8,"author":7,"museum":368,"description":1190,"tags":1191,"thumbUrl":1192,"material":1193,"size":1194,"collection":34,"collections":1195,"showCount":1196,"zanCount":219,"manualWeight":38,"mainColor":56},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[25,67,27,118,890,50,47,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纸本墨笔","纵34.4厘米，横408.9厘米",[34,184],42,{"id":1198,"slug":1199,"title":1200,"dynasty":8,"author":7,"museum":99,"description":1201,"tags":1202,"thumbUrl":1203,"material":314,"size":1204,"collection":91,"collections":1205,"showCount":1196,"zanCount":38,"manualWeight":38,"mainColor":56},218828,"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[130,64,26,30,65,103,192,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[91],{"id":1207,"slug":1208,"title":1209,"dynasty":8,"author":7,"museum":22,"description":1210,"tags":1211,"thumbUrl":1212,"material":1213,"size":1214,"collection":245,"collections":1215,"showCount":1216,"zanCount":38,"manualWeight":38,"mainColor":39},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[25,64,26,160,65,654,103,988,462,165,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","绢本水墨","纵117厘米，宽54厘米",[245,197],40,{"id":1218,"slug":1219,"title":1220,"dynasty":8,"author":7,"museum":1221,"description":1222,"tags":1223,"thumbUrl":1225,"material":145,"size":78,"collection":147,"collections":1226,"showCount":1216,"zanCount":38,"manualWeight":38,"mainColor":56},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","美国克利夫兰艺术博物馆","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[25,130,64,26,47,30,67,66,88,213,1224,143,50],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[147,149],{"id":1228,"slug":1229,"title":1230,"dynasty":8,"author":7,"museum":99,"description":1231,"tags":1232,"thumbUrl":1235,"material":289,"size":78,"collection":91,"collections":1236,"showCount":1237,"zanCount":317,"manualWeight":38,"mainColor":56},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[25,64,26,102,1233,30,999,1234],"双钩","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[91],39,{"id":1239,"slug":1240,"title":1220,"dynasty":8,"author":7,"museum":1221,"description":1222,"tags":1241,"thumbUrl":1244,"material":442,"size":78,"collection":147,"collections":1245,"showCount":1246,"zanCount":38,"manualWeight":38,"mainColor":56},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871",[25,130,64,26,47,1242,67,27,102,88,213,1243,50],"水墨画","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[147,149],38,{"id":1248,"slug":1249,"title":1250,"dynasty":8,"author":7,"museum":22,"description":1251,"tags":1252,"thumbUrl":1253,"material":1254,"size":1255,"collection":109,"collections":1256,"showCount":1246,"zanCount":317,"manualWeight":38,"mainColor":39},220847,"du-fu-xiang-zhou-zhao-meng-fu-220847","杜甫像轴","本幅为白描画杜甫戴笠独行侧身像，用笔简洁、遒劲有力、笔墨转换自然流畅，所绘人物造型准确，表情自然生动，衣纹衣带之描绘颇得吴道子之衣钵。明初人题谓赵孟頫画。",[25,64,26,160,102,30,103,105,50,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfa5a00fd8c25671db7e337cf330657.jpg","绢本 设色","250cmx61厘米",[109,147],{"id":1258,"slug":1259,"title":1260,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1261,"thumbUrl":1264,"material":674,"size":675,"collection":78,"collections":1265,"showCount":1266,"zanCount":317,"manualWeight":38,"mainColor":39},290912,"yao-shi-ru-lai-xiang-zhou-zhao-meng-fu-290912","药师如来像轴",[130,64,26,160,65,103,180,1262,1263],"佛教","药师如来","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48347c2a058feb0b48dd5636d6f36e1f.jpg",[],37,{"id":1268,"slug":1269,"title":1270,"dynasty":8,"author":7,"museum":22,"description":1271,"tags":1272,"thumbUrl":1273,"material":145,"size":1274,"collection":34,"collections":1275,"showCount":1266,"zanCount":317,"manualWeight":38,"mainColor":39},239598,"xu-qian-zi-wen-juan-zhao-meng-fu-239598","续千字文卷","赵孟頫是元代的著名诗人、画家、楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫开创了元代新画风，被称为“元人冠冕”，他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[25,27,67,47,30,145,118,1181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cc1e190189297105c44a223a0fe295.jpg","24.3×153.3cm",[34],{"id":1277,"slug":1278,"title":1279,"dynasty":8,"author":7,"museum":99,"description":1280,"tags":1281,"thumbUrl":1284,"material":145,"size":1285,"collection":91,"collections":1286,"showCount":1287,"zanCount":38,"manualWeight":38,"mainColor":56},220838,"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[25,64,26,130,47,65,161,192,212,1282,1283,50],"坡地","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[91,197],36,{"id":1289,"slug":1290,"title":1291,"dynasty":8,"author":7,"museum":99,"description":1292,"tags":1293,"thumbUrl":1300,"material":644,"size":1301,"collection":245,"collections":1302,"showCount":1303,"zanCount":38,"manualWeight":38,"mainColor":39},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[25,64,26,47,30,65,161,66,27,67,50,68,1294,76,72,165,71,75,1295,1296,1297,1298,1299],"孤山","远岫","近水","平野","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[245,197],35,{"id":1305,"slug":1306,"title":1307,"dynasty":8,"author":7,"museum":22,"description":1308,"tags":1309,"thumbUrl":1310,"material":145,"size":1311,"collection":34,"collections":1312,"showCount":1303,"zanCount":317,"manualWeight":38,"mainColor":39},220873,"zi-shu-shi-tie-zhao-meng-fu-220873","自书诗帖","书此帖时赵孟坚年六十一岁，是赵氏晚年之笔，笔力雄健，纵逸豪放，有黄庭坚书风。而结体瘦劲，中宫紧结欹侧俯仰之势则师法米芾，自有标度，为其书法代表作。\n旧传宋亡不仕，隐居广陈(今平湖市广陈镇北)。县令往访，孟坚飞舟逸去，县令叹息说“名可闻，身不可见”。从弟孟頫宋亡仕元，自湖州来访，闭门不纳。《芦川竹枝词》中《子固见弟诗》云：“南渡王孙此隐居，踵门贵客枉停车。当年介弟犹坚拒，座上那堪受浊污。”与陶菊隐、殷澄并称“秀州三义”。据近代学者考证，赵孟坚逝于宋亡前10余年，所谓宋亡不仕及拒见赵孟頫事不实。\n《宋人轶事汇编》载：赵孟坚入元以后，不乐仕进，隐居州之广陈镇（古海盐县，今平湖市广陈镇北）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”",[8,27,67,118,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6866225e40ebc88ad1c158c9034d8734.jpg","纵28.8厘米，横216.7厘米",[34],{"id":1314,"slug":1315,"title":1316,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1317,"thumbUrl":1320,"material":674,"size":675,"collection":78,"collections":1321,"showCount":1322,"zanCount":317,"manualWeight":38,"mainColor":39},287757,"lan-ting-xiu-xie-tu-zhao-meng-fu-287757","兰亭修褉图",[64,130,26,160,337,65,103,68,1318,1319,67,50],"兰亭修褉","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63595c9abcacae7d6cf7b788cd216285.jpg",[],34,{"id":1324,"slug":1325,"title":1326,"dynasty":8,"author":7,"museum":61,"description":1327,"tags":1328,"thumbUrl":1330,"material":289,"size":1331,"collection":78,"collections":1332,"showCount":1322,"zanCount":38,"manualWeight":38,"mainColor":39},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[25,130,64,47,65,66,68,69,165,103,192,387,551,1063,1329],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":1334,"slug":1335,"title":1336,"dynasty":8,"author":7,"museum":61,"description":1337,"tags":1338,"thumbUrl":1339,"material":78,"size":78,"collection":78,"collections":1340,"showCount":1322,"zanCount":38,"manualWeight":38,"mainColor":56},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[25,64,26,47,65,161,103,411,27,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":1342,"slug":1343,"title":1344,"dynasty":8,"author":7,"museum":99,"description":1345,"tags":1346,"thumbUrl":1347,"material":644,"size":645,"collection":34,"collections":1348,"showCount":1322,"zanCount":317,"manualWeight":38,"mainColor":56},220875,"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[26,27,67,50,1138,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg",[34],{"id":1350,"slug":1351,"title":1352,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1353,"thumbUrl":1356,"material":674,"size":675,"collection":78,"collections":1357,"showCount":1358,"zanCount":38,"manualWeight":38,"mainColor":56},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[25,130,64,160,65,68,103,1354,104,242,227,143,1355,27,50],"枯藤","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],33,{"id":1360,"slug":1361,"title":1362,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1363,"thumbUrl":1364,"material":674,"size":675,"collection":78,"collections":1365,"showCount":1366,"zanCount":38,"manualWeight":38,"mainColor":39},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[25,130,64,26,47,65,161,103,192,387,68,165,27,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],30,{"id":1368,"slug":1369,"title":1370,"dynasty":8,"author":7,"museum":885,"description":1371,"tags":1372,"thumbUrl":1374,"material":1375,"size":1376,"collection":91,"collections":1377,"showCount":1366,"zanCount":38,"manualWeight":38,"mainColor":56},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[25,64,26,47,30,161,192,103,50,27,67,1373,387],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[91,197],{"id":1379,"slug":1380,"title":1381,"dynasty":8,"author":7,"museum":548,"description":1382,"tags":1383,"thumbUrl":1384,"material":145,"size":1385,"collection":34,"collections":1386,"showCount":1366,"zanCount":38,"manualWeight":38,"mainColor":56},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[25,130,64,26,47,67,102,103,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[34],{"id":1388,"slug":1389,"title":1390,"dynasty":8,"author":7,"museum":885,"description":1391,"tags":1392,"thumbUrl":1393,"material":1394,"size":1395,"collection":109,"collections":1396,"showCount":1366,"zanCount":38,"manualWeight":38,"mainColor":56},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[25,64,26,47,65,161,180,103,70,241,50,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[109,197],{"id":1398,"slug":1399,"title":1400,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1401,"thumbUrl":1404,"material":674,"size":675,"collection":78,"collections":1405,"showCount":1406,"zanCount":38,"manualWeight":38,"mainColor":39},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）",[25,64,26,47,337,65,68,75,71,165,1402,1403],"农田","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],29,{"id":1408,"slug":1409,"title":1410,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1411,"thumbUrl":1414,"material":674,"size":675,"collection":78,"collections":1415,"showCount":1406,"zanCount":38,"manualWeight":38,"mainColor":39},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[64,130,26,160,65,103,180,1262,1412,1413,1354,241],"达摩","古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":1417,"slug":1418,"title":1419,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1420,"thumbUrl":1421,"material":674,"size":675,"collection":78,"collections":1422,"showCount":1406,"zanCount":38,"manualWeight":38,"mainColor":39},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[64,130,160,65,68,103,338,241,227,50,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":1424,"slug":1425,"title":1426,"dynasty":8,"author":7,"museum":99,"description":1427,"tags":1428,"thumbUrl":1429,"material":145,"size":1430,"collection":34,"collections":1431,"showCount":1406,"zanCount":317,"manualWeight":38,"mainColor":56},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[26,27,67,30,1138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[34],{"id":1433,"slug":1434,"title":1435,"dynasty":8,"author":7,"museum":298,"description":1436,"tags":1437,"thumbUrl":1438,"material":107,"size":78,"collection":109,"collections":1439,"showCount":1406,"zanCount":38,"manualWeight":38,"mainColor":39},219562,"ma-tu-ye-zhao-meng-fu-219562","马图页","此作以淡赭绢本为底，骏马身形丰腴劲健，以浓淡不一的墨色晕染皮毛，浓墨铺就肩臀，淡墨晕出躯干，虚实间尽显骏马肌理的柔和光泽，静立中暗含蓄力待发的动势。\n牵马胡人气度彪悍，简劲线条勾勒出毡裘纹理，虬髯卷发的样貌鲜活生动，寥寥数笔便将塞外牧人的质朴刚健全然展现。\n左上题字笔致圆熟苍秀，书画相融，更添文雅意趣。整幅脱却院体鞍马的精工繁复，以写意笔法抓取神形，兼具写实功力与文人雅韵，将人马之间的沉静张力定格绢素，尽显元代鞍马画的别致意趣。",[25,64,26,29,65,161,192,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d15c2a7cbef3531d0fff7ae3e535dbb.jpg",[109],{"id":1441,"slug":1442,"title":1443,"dynasty":8,"author":7,"museum":99,"description":1444,"tags":1445,"thumbUrl":1446,"material":107,"size":1447,"collection":91,"collections":1448,"showCount":1406,"zanCount":38,"manualWeight":38,"mainColor":39},218827,"ma-tu-zhao-meng-fu-218827","马图","两马相依而立，一深一浅的墨色晕染出温润质感。鬃尾线条如行书般挥洒流畅，圆劲的笔触似篆籀勾勒马身筋骨，肥瘦得宜的体态里藏着含蓄的力度。红衣人抚髯凝睇，神情悠然若与马语；白衣者侧立相伴，身姿闲雅如随景停驻。\n\n画面以书入画，笔墨间透着文人的清雅韵致。没有繁复的铺陈，仅用简练线条与淡墨渲染，便将马的温顺灵动、人物的闲适默契刻画入微。静穆的氛围里，仿佛能听见马的轻嘶与衣袂的微动，形神兼备的意趣，恰是元代文人画中“以形写神”的生动注脚。",[64,161,65,103,192,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3743a6d57a932955b20032b8187e236.jpg","52.5x48.2cm",[91],{"id":1450,"slug":1451,"title":1452,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1453,"thumbUrl":1454,"material":674,"size":675,"collection":78,"collections":1455,"showCount":1456,"zanCount":317,"manualWeight":38,"mainColor":152},287338,"wu-xing-fu-mo-ji-shou-juan-zhao-meng-fu-287338","吴兴赋墨迹手卷",[25,26,27,47,67,48,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e5b862109c535437718d8d9f4c5e71.jpg",[],28,{"id":1458,"slug":1459,"title":1460,"dynasty":8,"author":7,"museum":99,"description":1461,"tags":1462,"thumbUrl":1463,"material":644,"size":1464,"collection":109,"collections":1465,"showCount":1456,"zanCount":317,"manualWeight":38,"mainColor":56},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[130,64,26,65,103,192,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[109,147],{"id":1467,"slug":1468,"title":1469,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1470,"thumbUrl":1473,"material":674,"size":675,"collection":78,"collections":1474,"showCount":1475,"zanCount":317,"manualWeight":38,"mainColor":56},290893,"guo-guo-fu-ren-ye-you-tu-zhou-zhao-meng-fu-290893","虢国夫人夜游图轴",[160,27,67,50,1471,1472],"历史人物","夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d725321df30f7987c941a93805d1ac.jpg",[],27,{"id":1477,"slug":1478,"title":1479,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1480,"thumbUrl":1482,"material":674,"size":675,"collection":78,"collections":1483,"showCount":1484,"zanCount":317,"manualWeight":38,"mainColor":56},288366,"hu-zhou-miao-yan-si-ji-zhao-meng-fu-288366","湖州妙严寺记",[27,28,47,1262,1481,26,130,50,118,888],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439cf33214cfd02bb81e18ad2c10d54a.jpg",[],26,{"id":1486,"slug":1487,"title":1488,"dynasty":8,"author":7,"museum":61,"description":1489,"tags":1490,"thumbUrl":1491,"material":78,"size":78,"collection":78,"collections":1492,"showCount":1484,"zanCount":38,"manualWeight":38,"mainColor":56},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","江村渔乐图","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[25,64,26,808,30,65,68,1355,227,242,165,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":1494,"slug":1495,"title":1496,"dynasty":8,"author":7,"museum":238,"description":1497,"tags":1498,"thumbUrl":1499,"material":608,"size":1500,"collection":78,"collections":1501,"showCount":1484,"zanCount":38,"manualWeight":38,"mainColor":56},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[25,130,64,26,47,65,102,103,192,67,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":1503,"slug":1504,"title":1505,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1506,"thumbUrl":1507,"material":674,"size":675,"collection":78,"collections":1508,"showCount":1509,"zanCount":38,"manualWeight":38,"mainColor":39},240930,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-yi-zhao-meng-fu-240930","赵孟頖妙法莲花经册卷一",[26,27,49,29,180,30,67,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72472614d6d8c0cb59dc2126a72dc92.jpg",[],25,{"id":1511,"slug":1512,"title":1513,"dynasty":8,"author":7,"museum":22,"description":1514,"tags":1515,"thumbUrl":1516,"material":229,"size":1517,"collection":78,"collections":1518,"showCount":1519,"zanCount":38,"manualWeight":38,"mainColor":39},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[25,64,26,47,161,65,103,538,27,67,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],23,{"id":1521,"slug":1522,"title":1523,"dynasty":8,"author":7,"museum":238,"description":1524,"tags":1525,"thumbUrl":1530,"material":229,"size":1531,"collection":78,"collections":1532,"showCount":1519,"zanCount":317,"manualWeight":38,"mainColor":56},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[25,64,26,47,65,103,226,1526,1527,161,67,27,1528,1529,1169],"驴","狗","农耕","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":1534,"slug":1535,"title":1536,"dynasty":8,"author":7,"museum":22,"description":1537,"tags":1538,"thumbUrl":1539,"material":145,"size":1540,"collection":34,"collections":1541,"showCount":1519,"zanCount":317,"manualWeight":38,"mainColor":56},220888,"guo-meng-tie-zhao-meng-fu-220888","过蒙帖","帖中的总管相公应是赵氏同宗。此札一是感谢他对家兄照 顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[25,27,67,48,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[34],{"id":1543,"slug":1544,"title":1545,"dynasty":8,"author":7,"museum":22,"description":1546,"tags":1547,"thumbUrl":1549,"material":608,"size":1550,"collection":91,"collections":1551,"showCount":1519,"zanCount":38,"manualWeight":38,"mainColor":39},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[130,64,26,160,999,1548,65,50],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[91,197],{"id":1553,"slug":1554,"title":1555,"dynasty":8,"author":7,"museum":22,"description":1556,"tags":1557,"thumbUrl":1558,"material":229,"size":1559,"collection":34,"collections":1560,"showCount":1561,"zanCount":38,"manualWeight":38,"mainColor":56},239629,"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[25,26,538,28,27,118,47,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[34],22,{"id":1563,"slug":1564,"title":739,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1565,"thumbUrl":1566,"material":674,"size":675,"collection":78,"collections":1567,"showCount":1568,"zanCount":38,"manualWeight":38,"mainColor":56},290411,"di-shi-dan-ba-bei-juan-zhao-meng-fu-290411",[25,26,47,27,28,180,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57bbccb3382f2a1aef57a3612a4080a.jpg",[],20,{"id":1570,"slug":1571,"title":1572,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1573,"thumbUrl":1574,"material":674,"size":675,"collection":78,"collections":1575,"showCount":1568,"zanCount":38,"manualWeight":38,"mainColor":39},290100,"jin-ma-tu-zhao-meng-fu-290100","进马图",[130,64,26,65,161,103,192,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c0ea5d333793464874bbeb3f0f5efe.jpg",[],{"id":1577,"slug":1578,"title":1579,"dynasty":8,"author":7,"museum":61,"description":1580,"tags":1581,"thumbUrl":1582,"material":78,"size":78,"collection":78,"collections":1583,"showCount":1568,"zanCount":94,"manualWeight":38,"mainColor":56},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[25,27,67,47,50,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":1585,"slug":1586,"title":1587,"dynasty":8,"author":7,"museum":22,"description":1588,"tags":1589,"thumbUrl":1590,"material":145,"size":1591,"collection":34,"collections":1592,"showCount":1568,"zanCount":38,"manualWeight":38,"mainColor":56},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[25,26,27,47,67,28,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[34],{"id":1594,"slug":1595,"title":1596,"dynasty":8,"author":7,"museum":61,"description":1597,"tags":1598,"thumbUrl":1601,"material":78,"size":78,"collection":78,"collections":1602,"showCount":1568,"zanCount":317,"manualWeight":38,"mainColor":39},231479,"pu-tao-tu-zhao-meng-fu-231479","葡萄图","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[64,26,160,30,67,1599,1600,241],"葡萄","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":1604,"slug":1605,"title":1606,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1607,"thumbUrl":1608,"material":674,"size":675,"collection":78,"collections":1609,"showCount":1610,"zanCount":38,"manualWeight":38,"mainColor":39},288919,"san-ma-tu-zhao-meng-fu-288919","三马图",[130,64,26,192,387,65,161,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],18,{"id":1612,"slug":1613,"title":1614,"dynasty":8,"author":7,"museum":61,"description":1615,"tags":1616,"thumbUrl":1617,"material":145,"size":78,"collection":34,"collections":1618,"showCount":1610,"zanCount":317,"manualWeight":38,"mainColor":39},241459,"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[130,64,26,47,30,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[34],{"id":1620,"slug":1621,"title":1622,"dynasty":8,"author":7,"museum":22,"description":1623,"tags":1624,"thumbUrl":1625,"material":1626,"size":1627,"collection":34,"collections":1628,"showCount":1610,"zanCount":317,"manualWeight":38,"mainColor":39},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[25,27,26,47,67,30,48,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[34],{"id":1630,"slug":1631,"title":1632,"dynasty":8,"author":7,"museum":61,"description":1633,"tags":1634,"thumbUrl":1635,"material":78,"size":78,"collection":78,"collections":1636,"showCount":1610,"zanCount":317,"manualWeight":38,"mainColor":39},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[25,130,64,26,29,65,161,103,192,387,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":1638,"slug":1639,"title":1640,"dynasty":8,"author":7,"museum":61,"description":1641,"tags":1642,"thumbUrl":1644,"material":674,"size":675,"collection":78,"collections":1645,"showCount":1646,"zanCount":317,"manualWeight":38,"mainColor":56},290908,"wan-liu-tang-tu-zhou-zhao-meng-fu-290908","万柳堂图轴","丛柳茂盛的池塘边，有位文士骑马来访，庭院内三位文士已聚万柳堂中，即将兴起文会的高潮。全幅不论杨柳、人物、房舍都以极细腻的笔法描绘，精致清雅。",[64,160,26,65,103,988,1643,192,672,27,50],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb413a426fbb31519521b346e7c49dad.jpg",[],17,{"id":1648,"slug":1649,"title":1650,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1651,"thumbUrl":1653,"material":674,"size":675,"collection":78,"collections":1654,"showCount":1646,"zanCount":38,"manualWeight":38,"mainColor":39},290907,"lan-ting-xiu-xie-tu-zhou-zhao-meng-fu-290907","兰亭修褉图轴",[130,64,26,160,337,65,103,68,462,227,27,67,50,1318,1652,1319],"集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4fd08bab9b64402e68774cafa577608.jpg",[],{"id":1656,"slug":1657,"title":1658,"dynasty":8,"author":7,"museum":99,"description":1659,"tags":1660,"thumbUrl":1661,"material":145,"size":1662,"collection":78,"collections":1663,"showCount":1646,"zanCount":38,"manualWeight":38,"mainColor":56},232256,"shan-shui-tu-zhao-meng-fu-232256","山水图","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[64,26,160,130,65,66,30,68,165,103,241,227,496,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":1665,"slug":1666,"title":1667,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1668,"thumbUrl":1670,"material":674,"size":675,"collection":78,"collections":1671,"showCount":1672,"zanCount":38,"manualWeight":38,"mainColor":56},290913,"yue-yang-lou-ji-zhou-zhao-meng-fu-290913","岳阳楼记轴",[27,67,160,50,1669],"岳阳楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86089c0efbf74a3f2df5aeaa8c96b5d.jpg",[],16,{"id":1674,"slug":1675,"title":1676,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1677,"thumbUrl":1678,"material":674,"size":675,"collection":78,"collections":1679,"showCount":1672,"zanCount":38,"manualWeight":38,"mainColor":56},290909,"shan-shui-zhou-zhao-meng-fu-290909","山水轴",[64,160,68,337,65,66,103,338,241,227,462,50,27,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0901263111f2bc34b9744aecedd9cb.jpg",[],{"id":1681,"slug":1682,"title":1683,"dynasty":8,"author":7,"museum":61,"description":1684,"tags":1685,"thumbUrl":1686,"material":78,"size":78,"collection":78,"collections":1687,"showCount":1672,"zanCount":38,"manualWeight":38,"mainColor":39},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[25,130,64,26,29,161,65,103,192,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":1689,"slug":1690,"title":127,"dynasty":8,"author":7,"museum":61,"description":1691,"tags":1692,"thumbUrl":1693,"material":674,"size":675,"collection":78,"collections":1694,"showCount":1695,"zanCount":38,"manualWeight":38,"mainColor":39},287409,"luo-shen-fu-zhao-meng-fu-287409","《洛神赋》用笔精纯、圆润，结体严谨、遒媚，章法平和、潇洒。赵孟頫师法“二王”，得其笔法，又结合自身的特点，其行书呈现出清俊、典雅之风，《洛神赋》亦是将他的审美理想呈现得淋漓尽致。在《洛神赋》中，“中和”之美充斥全篇，对后世书法艺术事业的发展影响深远。",[25,27,67,118,50,1127,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e30e50d004b8cf4b03d24a4d7493f1.jpg",[],15,{"id":1697,"slug":1698,"title":1699,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1700,"thumbUrl":1702,"material":674,"size":675,"collection":78,"collections":1703,"showCount":1695,"zanCount":38,"manualWeight":38,"mainColor":293},287377,"lin-lan-ting-xu-ji-shi-san-ba-kuai-xue-tang-fa-shu-zhao-meng-fu-287377","临兰亭序及十三跋 (快雪堂法书)",[47,890,27,118,67,538,1701],"兰亭序","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b3a3f458d61ebb08fddd4724ed99ea.jpg",[],{"id":1705,"slug":1706,"title":1707,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1708,"thumbUrl":1709,"material":674,"size":675,"collection":78,"collections":1710,"showCount":1695,"zanCount":38,"manualWeight":38,"mainColor":56},241499,"yuan-you-pian-juan-zhao-meng-fu-241499","远游篇卷",[47,67,27,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5c6adeedc855e11126feed1d6948ba.jpg",[],{"id":1712,"slug":1713,"title":1714,"dynasty":8,"author":7,"museum":22,"description":1715,"tags":1716,"thumbUrl":1717,"material":145,"size":1718,"collection":34,"collections":1719,"showCount":1695,"zanCount":38,"manualWeight":38,"mainColor":39},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[25,130,64,26,47,67,27,50,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[34],{"id":1721,"slug":1722,"title":1723,"dynasty":8,"author":7,"museum":61,"description":1724,"tags":1725,"thumbUrl":1726,"material":78,"size":78,"collection":34,"collections":1727,"showCount":1695,"zanCount":38,"manualWeight":38,"mainColor":56},239613,"shu-tao-yuan-ming-shi-ce-ye-zhao-meng-fu-239613","书陶渊明诗册页","赵孟頫，1254年10月20日生人，字子昂，汉族，号松雪道人，又号水晶宫道人、鸥波，中年曾署孟俯。浙江吴兴（今浙江湖州）人。南宋末至元初著名书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他亦善篆、隶、真、行、草书，尤以楷、行书著称于世。其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。",[27,67,29,50,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a6bfd5aaf4b1d9e9d7575ef8d23a3a.jpg",[34],{"id":1729,"slug":1730,"title":1731,"dynasty":8,"author":7,"museum":61,"description":1732,"tags":1733,"thumbUrl":1734,"material":78,"size":78,"collection":78,"collections":1735,"showCount":1736,"zanCount":317,"manualWeight":38,"mainColor":56},239674,"guan-dao-sheng-chi-du-he-bi-juan-zhao-meng-fu-239674","管道昇尺牍合璧卷","卷首大篆朴拙雄浑，笔力沉厚自带庙堂古意。其后尺牍行书温润雅致，赵孟頫笔下筋骨内含、雍容隽秀，尽显“赵体”圆活遒媚的风神；管道昇书迹清和舒展，柔婉中见刚劲，尽显才女笔底的温婉气度。\n\n此卷为夫妇二人尺牍合璧，墨色清润纸色古雅，鉴藏朱印错落其间，映证着流传的悠长岁月，藏着日常家书里的脉脉温情，尽显元代文人世家的翰墨风雅，是赵氏一门书法家风的鲜活缩影。",[25,47,27,67,1373,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabed06bf27d8cf2c86721842f35d6af2.jpg",[],14,{"id":1738,"slug":1739,"title":1740,"dynasty":8,"author":7,"museum":616,"description":1741,"tags":1742,"thumbUrl":1743,"material":289,"size":1744,"collection":78,"collections":1745,"showCount":1736,"zanCount":38,"manualWeight":38,"mainColor":56},232887,"tian-ma-fu-tu-juan-zhao-meng-fu-232887","天马赋图卷","《天马赋》是一篇辞赋作品，是著名辞赋家天山客最新完成的辞赋力作。该篇笔力遒劲，描写天马（伊犁马）的形态、声貌、神韵惟妙惟肖，对天马的历史、马的能力描写的非常到位。这是一篇十分成功的优秀辞赋，行文纵横捭阖、笔走龙蛇，有气吞万里之势。本篇可用劲节、雄浑、粗犷、豪迈来概括文章的风格，这也符合中国西部天山、昆仑、伊犁的地域特色。",[25,8,47,65,67,192,103,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7d933fc0197c7ef5b8b25cbfaf99b3.jpg","26.7x76.5厘米",[],{"id":1747,"slug":1748,"title":1749,"dynasty":8,"author":7,"museum":61,"description":1750,"tags":1751,"thumbUrl":1752,"material":78,"size":78,"collection":78,"collections":1753,"showCount":37,"zanCount":317,"manualWeight":38,"mainColor":56},239677,"yu-ji-ni-zan-shi-han-juan-zhao-meng-fu-239677","虞集 倪瓒诗翰卷","最右榜书沉雄浑厚，力透纸背，四字朴茂开张，尽显浑朴庙堂气象。中段行书圆活遒媚，笔墨温润秀雅，牵丝映带间晋唐风度盎然，诗与书意相融，尽显书画同源的通透造诣。左侧题字，虞集书风端稳清劲，倪瓒笔墨萧散简淡，各彰风骨。\n\n整卷诸家翰墨齐聚，既有赵氏雍容华滋的韵致，又兼具元人题跋的清疏雅致，是元代文人交游的鲜活见证，笔墨流转间尽显元代文人的风雅意趣，堪称元人书法合璧的上乘精品。",[25,130,64,26,47,67,28,27,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb447ceff09b77a371857f630f5b2365.jpg",[],{"id":1755,"slug":1756,"title":1757,"dynasty":8,"author":7,"museum":61,"description":1758,"tags":1759,"thumbUrl":1760,"material":78,"size":78,"collection":78,"collections":1761,"showCount":37,"zanCount":38,"manualWeight":38,"mainColor":39},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[130,64,26,29,102,30,103,192,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":1763,"slug":1764,"title":1765,"dynasty":8,"author":7,"museum":1766,"description":1767,"tags":1768,"thumbUrl":1788,"material":1193,"size":1789,"collection":78,"collections":1790,"showCount":81,"zanCount":38,"manualWeight":38,"mainColor":56},232261,"yu-zhen-lan-ting-zhao-meng-fu-232261","玉枕兰亭","旅顺博物馆","久负盛名的玉枕兰亭序，是缩临《兰亭序》，为携带方便，可以随时展玩。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。这卷玉枕兰亭序高比通常所见的《兰亭》拓本小了将近三倍，但书写自如，气度雍容，不但形模毕肖，那种婉转遒美、玉润珠圆的神韵，简直可与唐代诸公的摹写一争高下。\n赵孟頫不仅有此 《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[67,27,538,1769,1770,685,1771,1772,1773,1774,1775,1776,1777,1778,1779,1780,1781,1782,1783,1784,1785,227,1786,1787],"笔墨","笔法流畅","章法自然","山阴","茂林","修竹","清流激湍","曲水","流觞","惠风","和风","朗气","清风","暮春","初会","崇山峻岭","竹林","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","13.8X32厘米",[],{"id":1792,"slug":1793,"title":1794,"dynasty":8,"author":7,"museum":61,"description":1795,"tags":1796,"thumbUrl":1797,"material":78,"size":78,"collection":78,"collections":1798,"showCount":81,"zanCount":38,"manualWeight":38,"mainColor":39},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[25,130,64,26,29,65,161,103,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":1800,"slug":1801,"title":720,"dynasty":8,"author":7,"museum":22,"description":1802,"tags":1803,"thumbUrl":1804,"material":145,"size":1805,"collection":34,"collections":1806,"showCount":136,"zanCount":38,"manualWeight":38,"mainColor":56},239667,"wan-shou-qu-juan-zhao-meng-fu-239667","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[25,130,64,26,47,67,27,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[34],{"id":1808,"slug":1809,"title":1810,"dynasty":8,"author":7,"museum":22,"description":1811,"tags":1812,"thumbUrl":1813,"material":132,"size":1814,"collection":34,"collections":1815,"showCount":136,"zanCount":38,"manualWeight":38,"mainColor":56},239666,"jiu-de-song-juan-zhao-meng-fu-239666","酒德颂卷","释文：\n有大人先生以天地爲一朝，以萬期爲須臾，日月爲扃牖，八荒爲庭除。行無轍迹，居無室廬，幕天席地，縱意所如。止則摇卮執孤，動則挈榼提壺，唯酒是務，焉知其餘。有貴介公子，搢紳處士，聞吾風聲，議其所以，陳說禮法，是非蠭起，奮袂攘襟，怒目切齒。先生於是方捧甖承槽，銜杯嗽醪，奮髯箕踞，枕麹藉糟，無思無慮，其樂陶陶。兀然而醉，恍爾而醒。靜聽不聞雷霆之聲，熟視不見泰山之形。不覺寒暑之切肌，嗜欲之感情。俯觀萬物，擾擾焉如江海之載萍。二豪侍側，如螺蠃之與螟蛉。延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。\n本幅自识：“延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。”钤“赵子昂氏”印。帖后题跋有孙星衍（5段）、徐有贞、陈鉴、刘珏、杨循吉、文彭、王穉登、翁方纲（4段）、阮元等26家。鉴藏印有戴植、吴云、顾文彬等15方。\n明詹景凤《东图玄览编》、《真迹日录》，清顾文彬《过云楼书画记》、完颜景贤《三虞堂书画目》著录。\n延祐三年（1316年），赵孟頫时年63岁。\n此卷是赵孟頫为瞿泽民录写的西晋刘伶《酒德颂》全文，共19行。瞿泽民无考。刘伶为“竹林七贤”之一，其《酒德颂》充分反映了晋代文人的心态，由于社会动荡不安，统治者对一些文人的政治迫害，使有的文人或借酒浇愁，或以酒避祸，并借酒后狂言发泄对时政的不满。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[25,47,27,67,28,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31512f695b6d65fe30c4b2db8aaaaa7f.jpg","纵28.5厘米，横65.2厘米，19行",[34],{"id":1817,"slug":1818,"title":1154,"dynasty":8,"author":7,"museum":22,"description":1819,"tags":1820,"thumbUrl":1821,"material":1822,"size":1160,"collection":78,"collections":1823,"showCount":136,"zanCount":38,"manualWeight":38,"mainColor":56},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[64,26,29,65,103,88,143,227,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b3b32deea9e4c5f3a8c69a1af184d.jpg","绢本 ，设色",[],{"id":1825,"slug":1826,"title":1827,"dynasty":8,"author":7,"museum":99,"description":1828,"tags":1829,"thumbUrl":1830,"material":644,"size":1831,"collection":78,"collections":1832,"showCount":136,"zanCount":38,"manualWeight":38,"mainColor":39},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[25,64,26,47,30,66,67,27,50,68,242,324,227,462,551,104,143,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":1834,"slug":1835,"title":1836,"dynasty":8,"author":7,"museum":61,"description":1837,"tags":1838,"thumbUrl":1840,"material":674,"size":675,"collection":78,"collections":1841,"showCount":1842,"zanCount":38,"manualWeight":38,"mainColor":56},288160,"zhen-cao-qian-zi-wen-ce-ye-zhao-meng-fu-288160","真草千字文册页","赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。",[27,1839,67,583,118,759],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65925b7e83e8127dd187c0e56e1630c6.jpg",[],10,{"id":1844,"slug":1845,"title":1846,"dynasty":8,"author":7,"museum":61,"description":1847,"tags":1848,"thumbUrl":1850,"material":674,"size":675,"collection":78,"collections":1851,"showCount":1842,"zanCount":38,"manualWeight":38,"mainColor":56},287921,"dan-ba-bei-zhao-meng-fu-287921","胆巴碑","《胆巴碑》,又名《龙兴寺碑》,元赵孟頫撰并书于延祜三年（一三一六），纸本，纵三十三点六厘米，横一百六十六厘米。楷书，一百二十五行，共九百二十三字，现藏故宫博物院。《胆巴碑》是赵孟頫奉元仁宗敕命撰写的，时年六十三岁，为赵氏晚年楷书的代表作。《胆巴碑》笔法秀媚，苍劲浑厚，独具风格，于规整端严处见潇洒，点画顾盼有致，用笔沉着峻拔，充分体现了赵氏书法的风韵和神采。虽取法李邕《麓山寺碑》，但又较之舒展放松，去其险佻之势，化为端庄肃穆、雍容道美之姿",[28,27,50,118,1849],"碑帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb8d9710429ac8f7cef2741174030af.jpg",[],{"id":1853,"slug":1854,"title":1855,"dynasty":8,"author":7,"museum":61,"description":1724,"tags":1856,"thumbUrl":1857,"material":78,"size":78,"collection":34,"collections":1858,"showCount":1842,"zanCount":317,"manualWeight":38,"mainColor":56},239669,"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷",[25,130,64,26,47,67,30,65,68,70,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[34],{"id":1860,"slug":1861,"title":1862,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1863,"thumbUrl":1864,"material":674,"size":675,"collection":78,"collections":1865,"showCount":1866,"zanCount":38,"manualWeight":38,"mainColor":56},287666,"hua-ma-zhao-meng-fu-287666","画马",[64,26,160,192,387,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a1db87a9fd9fa10d9a5ba021cfd3b0.jpg",[],9,{"id":1868,"slug":1869,"title":1870,"dynasty":8,"author":7,"museum":61,"description":1871,"tags":1872,"thumbUrl":1875,"material":674,"size":675,"collection":78,"collections":1876,"showCount":1866,"zanCount":317,"manualWeight":38,"mainColor":39},287376,"wei-yi-ren-mu-zhi-shi-qu-bao-ji-fa-tie-zhao-meng-fu-287376","卫宜人墓志 (石渠宝笈法帖)","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[890,27,1873,67,1874,50],"墓志铭","碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb329fb313375ddd8e0e0c48e75fd1bd2.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1881,"thumbUrl":1882,"material":674,"size":675,"collection":78,"collections":1883,"showCount":1866,"zanCount":38,"manualWeight":38,"mainColor":39},240933,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-er-zhao-meng-fu-240933","赵孟頖妙法莲花经册卷二",[26,27,49,29,67,180,30,1181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438a51782c2e18404b96924a66130662.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":8,"author":7,"museum":61,"description":1888,"tags":1889,"thumbUrl":1890,"material":78,"size":78,"collection":78,"collections":1891,"showCount":1866,"zanCount":317,"manualWeight":38,"mainColor":56},239579,"qian-zi-wen-juan-zhao-meng-fu-239579","千字文卷","此作用笔圆转遒劲，提按顿挫自带韵律，整卷如行云流水，一气呵成。草书笔势连绵缠绕，牵丝映带自然灵动，线条枯湿浓淡相映，尽显挥毫时的意气流转。\n\n字间疏密开合得宜，排布错落有致，既存晋唐草书的飘逸风神，又融温润隽秀的文人意趣，将狂放草法与雅致书卷气融为一体。俯仰之间可见笔墨流转的灵动生机，千字排布气韵贯通，笔底风神毕现，尽显草书豪放洒脱之态，又不失法度内敛的从容，观之如临松涛流云，心神随之舒展。",[25,27,67,47,48,50,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20233b79a047b353ad9bdc087629956c.jpg",[],{"id":1893,"slug":1894,"title":1895,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1896,"thumbUrl":1897,"material":674,"size":675,"collection":78,"collections":1898,"showCount":1899,"zanCount":38,"manualWeight":38,"mainColor":39},290281,"lin-shi-qi-tie-ce-ye-zhao-meng-fu-290281","临十七帖册页",[25,27,583,1839,538,118,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6c0579f6cad2d48f0b693cac2c2db4.jpg",[],8,{"id":1901,"slug":1902,"title":1903,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1904,"thumbUrl":1905,"material":674,"size":675,"collection":78,"collections":1906,"showCount":1899,"zanCount":38,"manualWeight":38,"mainColor":39},240936,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-si-zhao-meng-fu-240936","赵孟頖妙法莲花经册卷四",[27,49,29,28,180,26,1181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7358c8cc0a19acbc38f1dffa23b970.jpg",[],{"id":1908,"slug":1909,"title":1910,"dynasty":8,"author":7,"museum":99,"description":1911,"tags":1912,"thumbUrl":1914,"material":145,"size":1915,"collection":34,"collections":1916,"showCount":1899,"zanCount":38,"manualWeight":38,"mainColor":56},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[25,27,67,47,145,48,1913,50,1769],"书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[34],{"id":1918,"slug":1919,"title":1920,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1921,"thumbUrl":1923,"material":674,"size":675,"collection":78,"collections":1924,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":56},290414,"lin-huang-ting-jing-fu-hui-wang-xi-zhi-xiang-juan-wei-zhao-meng-fu-290414","临黄庭经附绘王羲之像卷（伪）",[25,47,26,27,28,538,118,103,1922,50,65],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe617929bc8a67971bbaddc937e73fd1c.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1929,"thumbUrl":1931,"material":674,"size":675,"collection":78,"collections":1932,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":56},290275,"dao-chang-he-shan-shi-tie-ce-ye-zhao-meng-fu-290275","道场何山诗帖册页",[25,130,26,27,67,118,1839,50,68,253,1930],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12d8b44fc4e81b70fd73285cb8353ca.jpg",[],{"id":1934,"slug":1935,"title":1936,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1937,"thumbUrl":1938,"material":674,"size":675,"collection":78,"collections":1939,"showCount":151,"zanCount":317,"manualWeight":38,"mainColor":39},287540,"ji-shi-jue-ju-zhao-meng-fu-287540","即事绝句",[130,64,26,160,67,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcb4da623173e899b38ab32ce72792.jpg",[],{"id":1941,"slug":1942,"title":1943,"dynasty":8,"author":7,"museum":22,"description":1944,"tags":1945,"thumbUrl":1946,"material":132,"size":1947,"collection":34,"collections":1948,"showCount":151,"zanCount":317,"manualWeight":38,"mainColor":56},239668,"san-duan-juan-zhao-meng-fu-239668","三段卷","释文：\n首段：昔者圣人之作《易》也，幽赞于神明而生蓍，参天两地而倚数，观变于阴阳而立卦，发挥于刚柔而生爻，和顺于道德而理于义，穷理尽性以至于命。大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫鉴藏印。\n首段节录《周易·系辞》，署款：“大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫。”钤“赵氏子昂”印。书于元大德九年（1305年），作者时年52岁。\n二段：玄都坛歌。故人昔隐东蒙峰，已佩含景苍精龙。故人今居子午谷，独在阴崖结茅屋。屋前太古玄都坛，青石漠漠常风寒。子规夜啼山竹裂，王母昼下云旗翻。知君此计成长往，芝草琅玕日应长。铁锁高垂不可攀，致身福地何萧爽。大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。\n二段录杜甫《玄都坛歌》，署款：“大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。”钤印同上。书于元大德十年（1306年），作者时年53岁。\n末段：白云从何来，乃在计筹山。山中老仙伯，翱翔白云间。结屋松竹里，开窗泉石边。焚香诵《道德》，清斋降神仙。俯仰皆自得，洗心游太玄。我欲往从之，规买山下田。艺药扫白发，栽桃映红颜。庶几林下意，期了区中缘。丹成从师去，笑拍洪崖肩。 琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[25,130,64,26,47,27,67,30,50,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[34],{"id":1950,"slug":1951,"title":1952,"dynasty":8,"author":7,"museum":22,"description":1953,"tags":1954,"thumbUrl":1955,"material":145,"size":78,"collection":34,"collections":1956,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":56},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[25,27,26,47,67,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[34],{"id":1958,"slug":1959,"title":1960,"dynasty":8,"author":7,"museum":238,"description":1961,"tags":1962,"thumbUrl":1963,"material":145,"size":1964,"collection":78,"collections":1965,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":56},232592,"you-jun-si-shi-ba-zhao-meng-fu-232592","《右军四事》跋","赵孟頫的书法，成就最高的是楷书和行书。传世的楷书名作有《胆巴碑》、《湖州妙严寺记》、《仇锷碑》等；小楷有《汲黯传》等；行书作品不少，如《洛神赋卷》、《赤壁二赋帖》、《定武兰亭十三跋》等。\n他作品最主要的特点，无论楷书还是行书，都很工整，四平八稳。温和、典雅是他书法的主要特色。虽然他对晋人书法下过很深的工夫，但晋人书法中精妙的用笔，在他的作品中几乎没有体现；或者说，他将晋人笔法的精微之处大大加以简化了。尽管如此，他的作品总是洋溢着一种高贵、典雅的气息。这完全是他深厚的学问、修养所致。\n此帖为赵孟頫行书《右军四事》卷，纸本，24.4×117cm，美国大都会博物馆藏。他主张遵从古法，认为书法应用笔为上，所以勤摹古人，探究笔法。赵孟頫的书法深受东晋书法家王羲之的影响，《右军四事》卷可以看出赵孟頫对王羲之的虔诚。",[130,64,26,47,67,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe692d3c2e529a9ae742f8b2f7109e4b0.jpg","24.4×117cm",[],{"id":1967,"slug":1968,"title":1969,"dynasty":8,"author":7,"museum":368,"description":1970,"tags":1971,"thumbUrl":1972,"material":78,"size":78,"collection":147,"collections":1973,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":1974},202030,"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[64,30,1243,88,143,66,26,47,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[147],"9f9691",{"id":1976,"slug":1977,"title":1978,"dynasty":8,"author":7,"museum":368,"description":1979,"tags":1980,"thumbUrl":1981,"material":78,"size":78,"collection":147,"collections":1982,"showCount":151,"zanCount":38,"manualWeight":38,"mainColor":1983},201391,"lan-zhu-shi-tu-juan-zhao-meng-fu-201391","兰竹石图卷","这幅作品将书法与绘画熔于一炉，尽显“书画同源”之妙。兰叶以草书笔意挥写，线条婉转中藏劲健，如惊风飘举；竹枝取行书撇捺之态，挺劲利落，似晴雪坠枝。孤石用淡墨皴擦，笔墨朴拙厚重，与兰竹的灵动形成刚柔相济的韵律。画面不重色彩，纯以水墨生发，墨色浓淡干湿变化丰富，兰的清雅、竹的气节、石的沉稳浑然一体，传递出文人雅士的高洁情怀与超逸心境。每一笔皆见书法功底，每一处皆含笔墨情趣，是元代文人画的典范之作。",[64,26,47,30,143,1243,88,67,66,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f90cc98f593fda6d922cf157917812.jpg",[147],"a89888",{"id":1985,"slug":1986,"title":1987,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1988,"thumbUrl":1989,"material":674,"size":675,"collection":78,"collections":1990,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":39},290903,"zeng-cang-ying-wen-zhou-zhao-meng-fu-290903","憎苍蝇文轴",[27,160,67,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862c4b5dcaef9448c16bad656ff68a92.jpg",[],{"id":1992,"slug":1993,"title":1994,"dynasty":8,"author":7,"museum":61,"description":669,"tags":1995,"thumbUrl":1996,"material":674,"size":675,"collection":78,"collections":1997,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},290731,"ma-zhou-zhao-meng-fu-290731","马轴",[64,160,26,192,387,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88223ac4953ca40160a5216f841a37de.jpg",[],{"id":1999,"slug":2000,"title":2001,"dynasty":8,"author":7,"museum":61,"description":1871,"tags":2002,"thumbUrl":2003,"material":674,"size":675,"collection":78,"collections":2004,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},290412,"zhang-zong-guan-mu-zhi-ming-zhao-meng-fu-290412","张总管墓志铭",[25,27,47,28,1373,1873,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dfb616ab78a8fba8e8260177fd5dd.jpg",[],{"id":2006,"slug":2007,"title":2008,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2009,"thumbUrl":2010,"material":674,"size":675,"collection":78,"collections":2011,"showCount":233,"zanCount":317,"manualWeight":38,"mainColor":56},290409,"shi-wen-juan-zhao-meng-fu-290409","诗文卷",[25,130,64,26,47,27,67,2008,30,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb4c44114d59c9ec8af4de4b31cf377.jpg",[],{"id":2013,"slug":2014,"title":2015,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2016,"thumbUrl":2017,"material":674,"size":675,"collection":78,"collections":2018,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":39},290282,"cai-shen-tu-ba-ce-ye-zhao-meng-fu-290282","采神图跋册页",[130,26,29,27,67,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055adfbe08119a726488d4e06dde4104.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2023,"thumbUrl":2024,"material":674,"size":675,"collection":78,"collections":2025,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},290280,"yu-da-guan-zhang-lao-zha-ce-ye-zhao-meng-fu-290280","与达观长老札册页",[27,67,29,50,180,1913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd96cf8794ea4e73f22d82a2a9653d0.jpg",[],{"id":2027,"slug":2028,"title":2029,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2030,"thumbUrl":2031,"material":674,"size":675,"collection":78,"collections":2032,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":39},290279,"zong-yang-gong-tie-ye-zhao-meng-fu-290279","宗阳宫帖页",[27,67,118,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e8b3a3dfb69f6b401e061496c84bfc.jpg",[],{"id":2034,"slug":2035,"title":2036,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2037,"thumbUrl":2038,"material":674,"size":675,"collection":78,"collections":2039,"showCount":233,"zanCount":317,"manualWeight":38,"mainColor":39},290276,"wei-yuan-tie-ye-zhao-meng-fu-290276","违远帖页",[27,67,118,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd82ad183a909abafb7f9ed32fcc157.jpg",[],{"id":2041,"slug":2042,"title":2043,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2044,"thumbUrl":2047,"material":674,"size":675,"collection":78,"collections":2048,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},289919,"zhi-ji-zong-yuan-xin-zha-juan-zhao-meng-fu-289919","致季宗元信札卷",[25,130,27,26,47,67,2045,50,508,2046],"信札","手卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ecb9127a45d081ca8d6431c4726ee0.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2053,"thumbUrl":2054,"material":674,"size":675,"collection":78,"collections":2055,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},287538,"bai-bi-ju-zhao-meng-fu-287538","白鼻驹",[64,26,30,103,192,67,27,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24216b7a685cb3cc77d5b2f81edb5252.jpg",[],{"id":2057,"slug":2058,"title":78,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2059,"thumbUrl":2060,"material":674,"size":675,"collection":78,"collections":2061,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":39},285304,"zhao-meng-fu-285304",[890,27,67,118,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a5d3f7f204902b4d5774725dc52f9b.jpg",[],{"id":2063,"slug":2064,"title":2065,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2066,"thumbUrl":2068,"material":674,"size":675,"collection":78,"collections":2069,"showCount":233,"zanCount":317,"manualWeight":38,"mainColor":293},283623,"xian-xie-gong-jia-chuan-kuai-xue-tang-fa-shu-zhao-meng-fu-283623","闲邪公家传（快雪堂法书）",[25,27,890,28,118,1874,2067],"传记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc481e9993a0704aaba1b903fff26fcd.jpg",[],{"id":2071,"slug":2072,"title":2073,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2074,"thumbUrl":2075,"material":674,"size":675,"collection":78,"collections":2076,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":39},240937,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-san-zhao-meng-fu-240937","赵孟頖妙法莲花经册卷三",[27,49,29,28,180,1181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed37198066d887c7d3ed63470b74bea.jpg",[],{"id":2078,"slug":2079,"title":2080,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2081,"thumbUrl":2082,"material":674,"size":675,"collection":78,"collections":2083,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},239977,"zhen-er-ti-qian-zi-wen-ce-zhao-meng-fu-239977","真二体千字文册",[130,64,26,27,28,67,29,50,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1578a43f85ca933804e0146f9f4dab7d.jpg",[],{"id":2085,"slug":2086,"title":2087,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2088,"thumbUrl":2089,"material":674,"size":675,"collection":78,"collections":2090,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":56},239786,"qi-zha-juan-zhao-meng-fu-239786","七札卷",[25,130,64,26,47,27,67,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3806fc086e4f797465cc9bc61cfe56.jpg",[],{"id":2092,"slug":2093,"title":2094,"dynasty":8,"author":7,"museum":368,"description":2095,"tags":2096,"thumbUrl":2097,"material":78,"size":78,"collection":78,"collections":2098,"showCount":233,"zanCount":38,"manualWeight":38,"mainColor":2099},202318,"da-mo-guo-hai-tu-zhou-zhao-meng-fu-202318","达摩过海图轴","身披朱红袈裟的达摩，衣袂飘举如流云，踏浪而行的姿态超然物外。面容沉静，眼神深邃，似凝思禅理，又若观照海天。衣纹勾勒线条流畅，融行书笔意于其中，尽显书画同源之妙。背景海浪以淡墨晕染，写意传神，与人物的笃定形成呼应。画面设色雅致，朱红与淡墨相映，古朴中见生机。整体意境空灵悠远，将达摩渡海的典故化为静谧而富有张力的视觉语言，传递出禅者的坚韧与澄明。",[64,103,180,65,102,30,67,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc8910e8086055993914fce1f0fdc9d.jpg",[],"9b7c5a",{"id":2101,"slug":2102,"title":2103,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2104,"thumbUrl":2105,"material":674,"size":675,"collection":78,"collections":2106,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":56},290410,"za-shu-san-duan-juan-zhao-meng-fu-290410","杂书三段卷",[25,27,47,67,26,50,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405c38a5bb969e86bf22169d1b7df2a.jpg",[],{"id":2108,"slug":2109,"title":2110,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2111,"thumbUrl":2112,"material":674,"size":675,"collection":78,"collections":2113,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":39},290277,"jin-lai-wu-men-tie-ye-zhao-meng-fu-290277","近来吴门帖页",[27,67,50,1138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f8868aa034482a3239475692d67069.jpg",[],{"id":2115,"slug":2116,"title":1810,"dynasty":8,"author":7,"museum":61,"description":2117,"tags":2118,"thumbUrl":2119,"material":674,"size":675,"collection":78,"collections":2120,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":56},290096,"jiu-de-song-juan-zhao-meng-fu-290096","有大人先生以天地为一朝，以万期为须臾，日月为扃牖，八荒为庭除。行无辙迹，居无室庐，幕天席地，纵意所如。止则摇卮执孤，动则挈榼提壶，唯酒是务，焉知其馀。有贵介公子，搢绅处士，闻吾风声，议其所以，陈说礼法，是非蠭起，奋袂攘襟，怒目切齿。先生於是方捧甖承槽，衔杯嗽醪，奋髯箕踞，枕麹藉糟，无思无虑，其乐陶陶。兀然而醉，恍尔而醒。静听不闻雷霆之声，熟视不见泰山之形。不觉寒暑之切肌，嗜欲之感情。俯观万物，扰扰焉如江海之载萍。二豪侍侧，如螺蠃之与螟蛉。延祐三年丙辰岁十一月廿一日，为瞿泽民书。子昂。",[25,130,64,26,47,27,67,30,118,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc108f90cfde16dfab4ac32b0c54f56a.jpg",[],{"id":2122,"slug":2123,"title":2124,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2125,"thumbUrl":2126,"material":674,"size":675,"collection":78,"collections":2127,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":56},290011,"wu-yi-zhao-meng-fu-290011","无逸",[25,27,47,28,118,50,1181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211a1630c10232b0fe4c4b1af6bf914a.jpg",[],{"id":2129,"slug":2130,"title":2131,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2132,"thumbUrl":2133,"material":674,"size":675,"collection":78,"collections":2134,"showCount":5,"zanCount":317,"manualWeight":38,"mainColor":56},289931,"gao-feng-he-shang-xing-zhuang-zhao-meng-fu-289931","高峰和尚行状",[25,130,27,47,67,30,180,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a65c031afdeb2eec88b72171951b53.jpg",[],{"id":2136,"slug":2137,"title":2138,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2139,"thumbUrl":2140,"material":674,"size":675,"collection":78,"collections":2141,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":56},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833","白描罗汉图卷",[25,130,64,26,47,180,102,103,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":2143,"slug":2144,"title":127,"dynasty":8,"author":7,"museum":22,"description":2145,"tags":2146,"thumbUrl":78,"material":132,"size":2147,"collection":78,"collections":2148,"showCount":5,"zanCount":38,"manualWeight":38,"mainColor":78},220883,"luo-shen-fu-zhao-meng-fu-220883","全卷共80行，末署款“子昂”。后纸元员峤山人（李倜），明高启，清王铎、曹溶题跋。前隔水王铎“戍子五月”又题。\n赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”\n本卷共钤印37方，见于清·卞永誉《式古堂书画汇考》、《石渠宝笈》著录。",[27,67],"纵29厘米，横220.9厘米",[],{"id":2150,"slug":2151,"title":2152,"dynasty":8,"author":7,"museum":61,"description":669,"tags":2153,"thumbUrl":2154,"material":674,"size":675,"collection":78,"collections":2155,"showCount":123,"zanCount":38,"manualWeight":38,"mainColor":39},290278,"guo-meng-tie-ye-zhao-meng-fu-290278","过蒙帖页",[27,67,118,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc6f9c888b8ff20ba68b0c32635830e.jpg",[],{"id":2157,"slug":2158,"title":2159,"dynasty":8,"author":7,"museum":61,"description":2160,"tags":2161,"thumbUrl":2162,"material":674,"size":675,"collection":78,"collections":2163,"showCount":94,"zanCount":38,"manualWeight":38,"mainColor":56},288336,"gao-shang-da-dong-yu-jing-mo-ji-zhao-meng-fu-288336","高上大洞玉经墨迹","赵孟頫小楷书博采众长，规模锺元常、萧子云，出入二王，取法于杨羲，以及唐代一些写经高手。随着时光推移与不懈追求，其小楷艺术也不断升华。元代至元二十八年八月，三十八岁的赵孟頫在北京为友人民瞻书写小楷《过秦论》一卷。同年十二月，著名书家鲜于枢见到民瞻带回杭州的这件小楷墨迹，在卷后题跋中写道：子昂篆、隶、正、行、颠草，俱为当代第一，小楷又为子昂诸书第一。此卷笔力柔媚，备极楷则。后之览者，岂知下笔神速如风雨耶。\n这件《高上大洞玉经》书于大德九年。全卷近4700字，无一笔懈怠，其结体妍丽，用笔遒劲，神彩飘逸。书写此卷时，书家年已五十有二，正值壮年，加之其虔心向佛，此书诚是一件传世精品之作。",[25,27,47,49,28,1922,180,50,1181,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27651a032ab51e0ace0d1e96ac084194.jpg",[],{"id":2165,"slug":2166,"title":2167,"dynasty":8,"author":7,"museum":368,"description":2168,"tags":2169,"thumbUrl":2171,"material":78,"size":78,"collection":78,"collections":2172,"showCount":94,"zanCount":38,"manualWeight":38,"mainColor":2173},201388,"chu-qiang-zhu-tu-zhou-zhao-meng-fu-201388","出墙竹图轴","竹枝破墙而出，墨痕流转间见风骨。枝干以篆籀之法写就，圆劲如铁；竹叶借行草笔意挥洒，浓淡相宜，错落成趣，似有风穿叶隙之声。简淡背景衬出竹之疏朗生机，题跋行书与朱红印章相映，诗书画印浑然一体，尽展文人雅致。竹之挺劲姿态，既摹自然天趣，更寓君子气节，笔端藏韵，墨里含情，是文人寄兴于物的绝佳写照。",[64,26,160,30,88,67,50,2170],"工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0086ea2dd816a914aa096f4f72b6c5.jpg",[],"978773",{"id":2175,"slug":2176,"title":2177,"dynasty":8,"author":7,"museum":368,"description":2178,"tags":2179,"thumbUrl":2182,"material":78,"size":78,"collection":147,"collections":2183,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":2184},201420,"ku-mu-zhu-shi-tu-juan-zhao-meng-fu-201420","枯木竹石图卷","枯木枝干以篆隶笔意挥写，如屈铁盘丝，苍劲中透着灵动；墨竹挺劲如箭，竹叶以撇捺之法点染，纷披错落却气韵连贯，尽显“书画同源”之妙。石用淡墨勾勒，辅以皴擦，朴拙厚重，与枯木修竹构成雅致画面。整幅以水墨写意，不饰浓艳，笔墨间流溢文人的清趣与对自然的深情。每一笔皆含书法筋骨，将绘画意象与书法意趣融于一体，是元代文人画“以书入画”的经典之作。",[64,654,30,2180,66,2181,88,213,27,26,25],"写意","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58abe22f00fc4cfae4986e46514c7490.jpg",[147],"b0a89d",{"id":2186,"slug":2187,"title":2188,"dynasty":8,"author":7,"museum":368,"description":2189,"tags":2190,"thumbUrl":2191,"material":78,"size":78,"collection":245,"collections":2192,"showCount":219,"zanCount":38,"manualWeight":38,"mainColor":2193},201417,"shan-shui-san-duan-tu-juan-zhao-meng-fu-201417","山水三段图卷","此长卷分三段构景，各呈雅趣：首段平远江天，水烟轻笼；中段疏林枯木，姿态萧散；末段奇峰映水，墨韵沉厚。笔墨融书法笔意，线条圆劲温润如篆隶，皴擦简淡却藏筋骨，墨色层次细腻，尽显“书画同源”之韵。画面清幽淡远，文人气息浓郁，题跋行书流畅洒脱，与山水景致浑然一体，似将自然之趣与心性之逸凝于卷上，流露元代文人对山水的深情与哲思。",[47,68,30,66,67,27,64,26,130,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7982ec34e8ea6981a0951af24d4c637.jpg",[245],"000000",1777535621320]