[{"data":1,"prerenderedAt":30},["ShallowReactive",2],{"artwork-zhuan-shu-shuo-wen-xu-liu-tiao-ping-zhao-zhi-qian-240411":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":15,"material":16,"size":17,"collection":18,"collections":19,"showCount":20,"zanCount":21,"manualWeight":21,"mainColor":22,"tagLinks":23},240411,"zhuan-shu-shuo-wen-xu-liu-tiao-ping-zhao-zhi-qian-240411","篆书说文叙六条屏","清","赵之谦","藏地不详","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[12,13,14],"篆书","书法","屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267b6f8c014f4c7a10fd7acd3abb7fca.jpg","未知","Xcm*Xcm","",[],12,0,"BDBDBD",[24,26,28],{"name":12,"slug":25},"zhuan-shu",{"name":13,"slug":27},"shu-fa",{"name":14,"slug":29},"ping-tiao",1777535426819]