[{"data":1,"prerenderedAt":62},["ShallowReactive",2],{"artwork-nan-hua-zhen-jing-19-wang-chong-222266":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},222266,"nan-hua-zhen-jing-19-wang-chong-222266","南华真经19","明","王宠","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","书法","写经","楷书","小楷","水墨","纸本","墨笔","汉字书写","传统书法","墨色均匀","笔法细腻","结体端稳","章法严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a63e58cf8e923937ada50d3324d425.jpg","白纸本","每开尺寸长19.1、宽12.5厘米","",[],0,"BDBDBD",[34,36,38,40,42,44,46,48,50,52,54,56,58,60],{"name":12,"slug":35},"gao-qing",{"name":13,"slug":37},"shu-fa",{"name":14,"slug":39},"xie-jing",{"name":15,"slug":41},"kai-shu",{"name":16,"slug":43},"xiao-kai",{"name":17,"slug":45},"shui-mo",{"name":18,"slug":47},"zhi-ben",{"name":19,"slug":49},"mo-bi",{"name":20,"slug":51},"han-zi-shu-xie",{"name":21,"slug":53},"chuan-tong-shu-fa",{"name":22,"slug":55},"mo-se-jun-yun",{"name":23,"slug":57},"bi-fa-xi-ni",{"name":24,"slug":59},"jie-ti-duan-wen",{"name":25,"slug":61},"zhang-fa-yan-jin",1777535617608]