[{"data":1,"prerenderedAt":43},["ShallowReactive",2],{"artwork-shen-xian-qi-ju-fa-juan-yang-ning-shi-221141":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":19,"material":20,"size":21,"collection":22,"collections":23,"showCount":24,"zanCount":25,"manualWeight":26,"mainColor":27,"tagLinks":28},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","五代十国","杨凝式","北京故宫博物院","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[12,13,14,15,16,17,18],"高清","书法","草书","长卷","墨迹","印章","书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纸本","纵27厘米，横21.2厘米","书法精选",[22],69,1,0,"795548",[29,31,33,35,37,39,41],{"name":12,"slug":30},"gao-qing",{"name":13,"slug":32},"shu-fa",{"name":14,"slug":34},"cao-shu",{"name":15,"slug":36},"chang-juan",{"name":16,"slug":38},"mo-ji",{"name":17,"slug":40},"yin-zhang",{"name":18,"slug":42},"shu-hua",1777535401240]