[{"data":1,"prerenderedAt":39},["ShallowReactive",2],{"artwork-xuan-shi-biao-zhong-yao-221015":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":18,"material":17,"size":19,"collection":20,"collections":21,"showCount":22,"zanCount":23,"manualWeight":24,"mainColor":25,"tagLinks":26},221015,"xuan-shi-biao-zhong-yao-221015","宣示表","晋","钟繇","北京故宫博物院","梁武帝萧衍誉道“势巧形密，胜于自运”。笔法质朴浑厚，雍容自然。王导东渡时将此表缝入衣带携走，后来传给逸少，逸少又将之传给王修，王修便带着它入土为安，从此不见天日。\n现在所能见到的《宣示表》只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。此帖风格直接影响了二王小楷面貌的形成 (从《黄庭经》、《乐毅论》，《洛神赋十三行》等就可看出)，进而影响到元、明、清三代的小楷创作，如赵孟頫、文徵明、王宠、黄道周等。更具历史意义的是，此帖所具备的点画法则、结体规律等影响和促进了楷书高峰——唐楷的到来。因此，钟繇《宣示表》可以说是楷书艺术的鼻祖。",[12,13,14,15,16,17],"书法","楷书","拓本","碑帖","字帖","小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55b96c8113998cb9b0e7129ca046fad.jpg","","碑帖精选",[20],201,3,0,"37474F",[27,29,31,33,35,37],{"name":12,"slug":28},"shu-fa",{"name":13,"slug":30},"kai-shu",{"name":14,"slug":32},"ta-ben",{"name":15,"slug":34},"bei-tie",{"name":16,"slug":36},"zi-tie",{"name":17,"slug":38},"xiao-kai",1777535394717]