[{"data":1,"prerenderedAt":37},["ShallowReactive",2],{"artwork-guan-gong-miao-bei-ye-zhu-yun-ming-239573":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":17,"material":18,"size":19,"collection":20,"collections":21,"showCount":22,"zanCount":23,"manualWeight":24,"mainColor":25,"tagLinks":26},239573,"guan-gong-miao-bei-ye-zhu-yun-ming-239573","关公庙碑页","明","祝允明","北京故宫博物院","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[12,13,14,15,16],"书法","行书","碑文","印章","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea117ecdc2acfc65ec3addd9779f1ecc.jpg","纸本","26.7×49.6cm","书法精选",[20],25,1,0,"BDBDBD",[27,29,31,33,35],{"name":12,"slug":28},"shu-fa",{"name":13,"slug":30},"xing-shu",{"name":14,"slug":32},"bei-wen",{"name":15,"slug":34},"yin-zhang",{"name":16,"slug":36},"ming-dai",1777535413786]