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字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[147,199,148,171,149,152,154,153,200],"名画","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[159,6],387,6,{"id":16,"slug":207,"title":208,"dynasty":142,"author":209,"museum":144,"description":210,"tags":211,"thumbUrl":213,"material":214,"size":215,"collection":159,"collections":216,"showCount":217,"zanCount":218,"manualWeight":163,"mainColor":164},"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[147,153,154,212,149,152,171,200],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","","纵24.8cm，横57.7cm",[159,6],230,1,{"id":17,"slug":220,"title":221,"dynasty":222,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":229,"material":230,"size":231,"collection":159,"collections":232,"showCount":217,"zanCount":233,"manualWeight":163,"mainColor":164},"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","元","赵孟頫","日本京都国立博物馆","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[147,153,227,228,149],"楷书","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纸本","纵35.8厘米，横283.8厘米",[159,6],3,{"id":18,"slug":235,"title":236,"dynasty":142,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":243,"material":244,"size":245,"collection":159,"collections":246,"showCount":247,"zanCount":248,"manualWeight":163,"mainColor":164},"qian-zi-wen-he-juan-zhi-yong-221077","千字文合卷","智永","藏于日本民间","智永，僧法极，字智永，人称永禅师，智永善书，书有家法,还将王羲之作为传家之宝的《兰亭序》，带到云门寺保存，云门寺有书阁，智永禅师居阁上临书20年。《真书千字文》系智永的代表书作，历来对它评价颇高。对他所写的《千字文》，清何绍基说：“笔笔从空中来，从空中住，虽屋漏痕，犹不足以喻之”。我们细读他的墨迹《千字文》，看得出他用笔上藏头护尾，一波三折，含蓄而有韵律的意趣。董、何之说可谓精确、具体、恰当。\n智永对乃祖王羲之、王献之的书法极为钦佩，决心使乃祖的书法万古流芳。智永练习书法极为刻苦。他在永欣寺时，就曾盖一座小楼专供练字，发誓“书不成，不下此楼”。就在这座冷冷清清的小楼里，他如痴如醉地练字，毛笔用了一支又一支，他常把用坏了的毛笔扔进大瓮，天长日久，就积了好几瓮，后来埋在一起，成为“退笔冢”。\n经过二三十年的努力，智永的书法果然大有进步。他的名气也越来越大，求其真迹者很多，以至他户外之履常满，连门限也踩坏了，智永又只好用铁皮来加固门槛，时人称之为“铁门槛”。\n张怀瓘将古今善书法者分成三品：神品、妙品、能品。智永的行书入于能品，隶书、章草、草书皆入妙品。可见智永书法成就已达到相当高的水平。\n智永书法流传甚广，宋御府即曾收藏智永草书13件，真草10件。其《真草千字文》一直流传至今。\n《真草千字文》采用以楷书对释草书的方式，这是智永的创造，既便于学书者释读草字，又能让人同时欣赏他两种体裁的书法，可谓一举两得。智永禅师草书“千字文”，完全得笔于乃祖王右军，并师承了草字法规。",[147,153,227,241,149,242,200],"草书","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","纸本墨笔","原册每开纵24厘米，横11厘米",[159,6],226,2,{"id":19,"slug":250,"title":251,"dynasty":195,"author":252,"museum":144,"description":253,"tags":254,"thumbUrl":258,"material":257,"size":214,"collection":6,"collections":259,"showCount":260,"zanCount":233,"manualWeight":163,"mainColor":261},"xuan-shi-biao-zhong-yao-221015","宣示表","钟繇","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。",[153,227,255,256,200,257],"拓本","碑帖","小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55b96c8113998cb9b0e7129ca046fad.jpg",[6],201,"37474F",{"id":20,"slug":263,"title":264,"dynasty":195,"author":196,"museum":265,"description":266,"tags":267,"thumbUrl":268,"material":214,"size":214,"collection":159,"collections":269,"showCount":270,"zanCount":163,"manualWeight":163,"mainColor":271},"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","辽宁省博物馆","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[147,153,149,154,241,212,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[159,6],189,"795548",{"id":21,"slug":273,"title":274,"dynasty":142,"author":275,"museum":276,"description":277,"tags":278,"thumbUrl":280,"material":281,"size":282,"collection":159,"collections":283,"showCount":284,"zanCount":218,"manualWeight":163,"mainColor":271},"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","美国大都会艺术博物馆","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[147,153,227,279,200,149,171,152],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[159,6],186,{"id":22,"slug":286,"title":287,"dynasty":142,"author":182,"museum":144,"description":288,"tags":289,"thumbUrl":290,"material":230,"size":291,"collection":159,"collections":292,"showCount":293,"zanCount":218,"manualWeight":163,"mainColor":271},"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[147,153,154,149,171,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[159,6],184,{"id":23,"slug":295,"title":296,"dynasty":142,"author":297,"museum":183,"description":298,"tags":299,"thumbUrl":301,"material":188,"size":302,"collection":159,"collections":303,"showCount":304,"zanCount":218,"manualWeight":163,"mainColor":164},"zi-xu-tie-quan-juan-huai-su-221097","自叙帖全卷","怀素","《自叙帖》为怀素自述其生平大略，兼录颜真卿、张谓、戴叔伦等人对其的赠诗成文。通篇为狂草，笔笔中锋，如锥划沙盘，纵横斜直，无往不收；全卷强调连绵草势，运笔上下翻转，忽左忽右，起伏摆荡，有疾有速，有轻有重，通幅于规矩法度中，奇踪变化，神采动荡，实为草书艺术的极致表现。《自叙帖》自唐末五代以来一直是草书领域的热门法帖，在中国草书史上承前启后，在书法艺术领域影响深远。 它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[147,153,241,149,152,200,171,300],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[159,6],183,{"id":24,"slug":306,"title":307,"dynasty":195,"author":196,"museum":224,"description":308,"tags":309,"thumbUrl":310,"material":311,"size":312,"collection":159,"collections":313,"showCount":304,"zanCount":248,"manualWeight":163,"mainColor":261},"shi-qi-tie-wang-xi-zhi-221028","十七帖","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[147,241,153,149,200,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[159,6],{"id":25,"slug":315,"title":316,"dynasty":317,"author":318,"museum":319,"description":320,"tags":321,"thumbUrl":323,"material":214,"size":214,"collection":6,"collections":324,"showCount":325,"zanCount":163,"manualWeight":163,"mainColor":261},"dong-han-cao-quan-bei-yi-ming-242190","东汉曹全碑","明","佚名","藏地不详","此作为汉隶经典范本，笔致秀逸灵动，波磔舒展柔婉却筋骨暗藏。通篇章法匀整疏朗，字距宽绰，行气舒缓从容，将东汉隶书成熟妍雅的风神尽显。\n\n拓本墨色沉凝古雅，刀痕与笔意交融，朴厚静穆的庙堂之气与娟秀飘逸的文人意趣相融共生。每字各尽姿态，或如垂柳拂风，或似流云卷舒，刚柔相济间法度暗藏。历经岁月淘洗，金石质感依旧清晰可感，静静诉说千年前的笔墨温度，尽显汉隶秀美一路的绝佳风貌。",[153,322,255,200,212],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb45a6f33821c36606c8cb0fb6a8f021.jpg",[6],170,{"id":26,"slug":327,"title":328,"dynasty":142,"author":182,"museum":329,"description":330,"tags":331,"thumbUrl":333,"material":334,"size":335,"collection":159,"collections":336,"showCount":325,"zanCount":218,"manualWeight":163,"mainColor":271},"ji-bo-fu-wen-gao-yan-zhen-qing-221058","祭伯父文稿","原作佚失","《祭伯父文稿》又称《告伯父文稿》，全称《祭伯父濠州刺史文》。自署书于乾元元年(758年) ，行草书，文稿一篇。凡36行，计410字。原刻早佚，见宋《甲秀堂帖》本。",[147,153,154,186,332],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[159,6],{"id":27,"slug":338,"title":339,"dynasty":142,"author":182,"museum":238,"description":340,"tags":341,"thumbUrl":342,"material":343,"size":344,"collection":159,"collections":345,"showCount":346,"zanCount":163,"manualWeight":163,"mainColor":271},"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[147,153,227,149,300,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[159,6],141,{"id":28,"slug":348,"title":349,"dynasty":142,"author":350,"museum":265,"description":351,"tags":352,"thumbUrl":353,"material":281,"size":214,"collection":159,"collections":354,"showCount":355,"zanCount":248,"manualWeight":163,"mainColor":271},"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[147,153,241,149,171,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[159,6],137,{"id":29,"slug":357,"title":358,"dynasty":142,"author":297,"museum":183,"description":359,"tags":360,"thumbUrl":364,"material":188,"size":365,"collection":159,"collections":366,"showCount":367,"zanCount":162,"manualWeight":163,"mainColor":271},"xiao-cao-qian-zi-wen-huai-su-221096","小草千字文","《小草千字文》纸本真迹是唐代书法家怀素创作的小草书法作品。共9页42行（为周兴嗣原文前段），计530字，盖有藏印数枚，是价值连城的唐代墨宝，被誉为“天下第一小草”名帖。现为著名学者黄锦祥所藏，是怀素唯一传世的小草书法真迹。此帖笔画瘦劲有力，灵动自然，毫无涣散衰颓之状。通幅笔墨奔放流畅，一气贯之蔚为壮观。是古代最珍贵、最标准的小草范本之一。",[147,153,241,361,149,362,363,152,200],"小草","飞白","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64996c852b8cf3f704a5cc33bff5043.jpg","纵26.8厘米，横13.5厘米，共9页",[159,6],132,{"id":30,"slug":369,"title":370,"dynasty":142,"author":371,"museum":276,"description":372,"tags":373,"thumbUrl":375,"material":230,"size":214,"collection":159,"collections":376,"showCount":367,"zanCount":233,"manualWeight":163,"mainColor":164},"zhao-ye-bai-han-gan-221074","照夜白","韩干","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[147,300,151,230,149,171,374,156,152,153,154],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[159,6],{"id":31,"slug":378,"title":379,"dynasty":195,"author":196,"museum":319,"description":380,"tags":381,"thumbUrl":382,"material":383,"size":214,"collection":159,"collections":384,"showCount":385,"zanCount":248,"manualWeight":163,"mainColor":164},"huang-ting-jing-wang-xi-zhi-221040","黄庭经","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[147,153,227,200,149,152,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[159,6],127,{"id":32,"slug":387,"title":388,"dynasty":142,"author":275,"museum":276,"description":277,"tags":389,"thumbUrl":390,"material":281,"size":282,"collection":159,"collections":391,"showCount":392,"zanCount":218,"manualWeight":163,"mainColor":164},"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行",[147,153,227,279,228,152,242,186,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg",[159,6],114,{"id":33,"slug":394,"title":395,"dynasty":142,"author":396,"museum":183,"description":397,"tags":398,"thumbUrl":399,"material":188,"size":400,"collection":159,"collections":401,"showCount":402,"zanCount":218,"manualWeight":163,"mainColor":164},"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[147,199,148,171,149,241,153,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[159,6],108,{"id":34,"slug":404,"title":405,"dynasty":195,"author":406,"museum":144,"description":407,"tags":408,"thumbUrl":409,"material":230,"size":410,"collection":6,"collections":411,"showCount":412,"zanCount":218,"manualWeight":163,"mainColor":164},"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[147,199,148,171,149,154,153,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[6],104,{"id":35,"slug":414,"title":415,"dynasty":142,"author":350,"museum":319,"description":416,"tags":417,"thumbUrl":418,"material":419,"size":420,"collection":159,"collections":421,"showCount":422,"zanCount":163,"manualWeight":163,"mainColor":423},"li-qing-lian-xu-xuan-zhang-xu-221078","李清莲序玄","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[147,241,153,171,149,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","纸本，手卷","27*541",[159,6],101,"F48FB1",{"id":36,"slug":425,"title":426,"dynasty":195,"author":196,"museum":319,"description":427,"tags":428,"thumbUrl":429,"material":214,"size":214,"collection":159,"collections":430,"showCount":431,"zanCount":248,"manualWeight":163,"mainColor":164},"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[147,153,241,149,212,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[159,6],97,{"id":37,"slug":433,"title":434,"dynasty":142,"author":435,"museum":144,"description":436,"tags":437,"thumbUrl":439,"material":440,"size":441,"collection":159,"collections":442,"showCount":443,"zanCount":163,"manualWeight":163,"mainColor":261},"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-221086","兰亭八柱帖 （巽）册","柳公权","蘭亭八柱乃圓明園遺物，於1910年（宣統二年）被移到頤和園，後置於耶律楚材祠中。1915 年，江朝宗致函溥儀內務府，請求拉運圓明園蘭亭碑及山石，以供社稷壇開拓公園之用。其後，蘭亭碑及八根石柱，分別於1917年前和1941年之後運至中山公園，直到1971年，始用八根石柱，在唐花塢西側新建成重檐八角亭，額曰“景自天成”。八根石柱之蘭亭帖，多有風化，半數帖尚好，仍可辨讀。",[147,153,255,154,152,438],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[159,6],91,{"id":38,"slug":445,"title":446,"dynasty":142,"author":182,"museum":329,"description":447,"tags":448,"thumbUrl":449,"material":450,"size":451,"collection":159,"collections":452,"showCount":453,"zanCount":218,"manualWeight":163,"mainColor":261},"pei-jiang-jun-shi-tie-yan-zhen-qing-221062","裴将军诗帖","传为唐代颜真卿所书。该帖楷、行、草相混而书，书法大小、长短、肥瘦、斜正变化多端，间杂隶书笔法，气雄力厚。北京大学教授、引碑入草开创者的李志敏评价：“颜真卿的《裴将军诗》以汉分为魂，融合诸体，牢笼百态，裴旻剑舞活现于鲁公笔端。欲医草之轻浮，可于此贴中求之”。",[147,149,153,255,200,227,154,241,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f840ab06e0e890cb03487c20c8ad3f8.jpg","楷、行、草相混","第一块碑石为长方形，长74厘米，宽43厘米 第二石为正方形， 长42厘米，宽42厘米 第三石的尺寸极可能长74厘米，宽43厘米",[159,6],88,{"id":39,"slug":455,"title":388,"dynasty":142,"author":275,"museum":276,"description":277,"tags":456,"thumbUrl":457,"material":281,"size":282,"collection":159,"collections":458,"showCount":459,"zanCount":248,"manualWeight":163,"mainColor":164},"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068",[147,153,227,279,152,149,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[159,6],86,{"id":40,"slug":461,"title":462,"dynasty":142,"author":182,"museum":144,"description":463,"tags":464,"thumbUrl":467,"material":468,"size":469,"collection":159,"collections":470,"showCount":471,"zanCount":218,"manualWeight":163,"mainColor":164},"hu-zhou-tie-juan-yan-zhen-qing-221061","湖州帖卷","释文：\u2028　　江外唯湖州最卑下，今年诸州水并凑此州入太湖，田苗非常没溺。赖刘尚书□抚，以此人心差安，不然，仅不可安耳。真卿白。\n此帖为传颜真卿所书的一通信札，讲述湖州地区发生水灾，百姓得到安抚一事。根据书写的内容和史料推测，书写时间应在唐大历七年（772年）以后，即颜真卿任职湖州刺史期间。但经专家鉴定，此帖非颜氏所书，理由如下：其一，书写所用纸张为加粉砑光的竹料纸，而这种纸在宋代才出现。其二，在书写风格方面作者用笔圆转连绵，侧媚多姿，墨色华润，与颜真卿所书《祭侄文稿》的悲切、《争座位帖》的激昂意态迥别，亦缺少颜书中锋多“屋漏痕”意。因此可推断此帖为宋人之仿本。\n清安岐《墨缘汇观》、卞永誉《式古堂书画汇考》著录。",[147,465,153,154,149,152,466],"唐代","墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纸本，行书","纵27.6厘米，横50.2厘米",[159,6],83,{"id":41,"slug":473,"title":474,"dynasty":195,"author":196,"museum":183,"description":475,"tags":476,"thumbUrl":477,"material":311,"size":478,"collection":159,"collections":479,"showCount":480,"zanCount":163,"manualWeight":163,"mainColor":271},"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[153,154,200,152,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纵24.8厘米，横21.3厘米",[159,6],82,{"id":42,"slug":482,"title":483,"dynasty":195,"author":196,"museum":183,"description":484,"tags":485,"thumbUrl":486,"material":214,"size":487,"collection":159,"collections":488,"showCount":489,"zanCount":163,"manualWeight":163,"mainColor":164},"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[147,171,153,154,149,152,200,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[159,6],81,{"id":43,"slug":491,"title":492,"dynasty":142,"author":209,"museum":144,"description":210,"tags":493,"thumbUrl":494,"material":230,"size":495,"collection":159,"collections":496,"showCount":497,"zanCount":163,"manualWeight":163,"mainColor":164},"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[147,199,148,171,149,212,154,152,153,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[159,6],79,{"id":44,"slug":499,"title":500,"dynasty":142,"author":182,"museum":329,"description":501,"tags":502,"thumbUrl":503,"material":466,"size":504,"collection":159,"collections":505,"showCount":506,"zanCount":163,"manualWeight":163,"mainColor":423},"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[147,153,227,149,255,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[159,6],74,{"id":45,"slug":508,"title":509,"dynasty":142,"author":510,"museum":511,"description":512,"tags":513,"thumbUrl":514,"material":230,"size":515,"collection":159,"collections":516,"showCount":506,"zanCount":248,"manualWeight":163,"mainColor":164},"qian-zi-wen-can-juan-gao-xian-221051","千字文残卷","高闲","上海博物馆","高闲草书《千文残卷》共52行，243字，是《千字文》的后面部分，现藏上海博物馆。",[153,241,149,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727bc937e04080676c39b9d3ae256047.jpg","纵30.8cm，横331.3cm，为残本",[159,6],{"id":46,"slug":518,"title":519,"dynasty":142,"author":520,"museum":183,"description":521,"tags":522,"thumbUrl":523,"material":188,"size":524,"collection":159,"collections":525,"showCount":526,"zanCount":233,"manualWeight":163,"mainColor":271},"wen-fu-quan-juan-lu-jian-zhi-221053","文赋全卷","陆柬之","文赋全卷系唐代陆柬之行书法帖。纸本墨迹卷。书法婉润清丽，甚似《兰亭序》。有赵孟頫、李倜、危素、孙承泽等跋记。李倜此跋字体精劲，舒张得宜，行笔丰瘦有度，温润圆融，颇具右军风韵",[147,153,154,149,200,152,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c1189ecd1a40b1880c8bc8e430647.jpg","纵23.3cm。",[159,6],72,{"id":47,"slug":528,"title":529,"dynasty":195,"author":196,"museum":530,"description":531,"tags":532,"thumbUrl":536,"material":230,"size":537,"collection":159,"collections":538,"showCount":539,"zanCount":163,"manualWeight":163,"mainColor":164},"pin-you-ai-huo-tie-yu-kong-shi-zhong-tie-you-xuan-tie-wang-xi-zhi-221039","《频有哀祸帖》与《孔侍中帖》、《忧悬帖》","日本尊经阁文库","《频有哀祸帖》行草书。\n为东晋王羲之所书尺牍摹本，原作久佚。存世的《频有哀祸帖》摹本收藏于日本前田育德会，为唐代硬黄响搨、双钩廓填摹本。作品行轴线时曲时直、书体时草时行、点画时方时圆，书写风格沉雄跳宕、劲健流纵，体现了王羲之高超的书写技巧和驾驭能力。作品。\n《孔侍中帖》為唐代摹搨墨跡，是對東晉王羲之尺牘進行的雙鈎廓填而形成的勾摹本。行草書，3行，25字。《孔侍中帖》筆畫體態豐腴雍容；“中和”之美，“多力豐筋”於此帖盡顯。作品墨跡收藏於日本前田育德會。",[153,154,533,534,535],"笔墨","帖","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0bf13a3fc38ad9b01d9a38229a29a96.jpg","纵24.8厘米，3行，20字",[159,6],70,{"id":48,"slug":541,"title":542,"dynasty":142,"author":435,"museum":144,"description":543,"tags":544,"thumbUrl":545,"material":230,"size":546,"collection":159,"collections":547,"showCount":548,"zanCount":163,"manualWeight":163,"mainColor":271},"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[199,148,171,149,154,241,153,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[159,6],69,{"id":49,"slug":550,"title":551,"dynasty":142,"author":350,"museum":319,"description":552,"tags":553,"thumbUrl":554,"material":230,"size":420,"collection":159,"collections":555,"showCount":556,"zanCount":163,"manualWeight":163,"mainColor":261},"li-qing-lian-xu-zhang-xu-221079","李清莲序","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[147,153,241,149,200,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[159,6],68,{"id":50,"slug":558,"title":559,"dynasty":195,"author":196,"museum":560,"description":561,"tags":562,"thumbUrl":563,"material":564,"size":565,"collection":6,"collections":566,"showCount":567,"zanCount":163,"manualWeight":163,"mainColor":164},"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[147,153,154,200,149,152,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","纸本墨迹","11行，102字",[6],67,{"id":51,"slug":569,"title":274,"dynasty":142,"author":275,"museum":276,"description":277,"tags":570,"thumbUrl":571,"material":281,"size":282,"collection":159,"collections":572,"showCount":573,"zanCount":248,"manualWeight":163,"mainColor":164},"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[147,153,227,279,200,149,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[159,6],66,{"id":52,"slug":575,"title":576,"dynasty":577,"author":318,"museum":578,"description":579,"tags":580,"thumbUrl":582,"material":227,"size":214,"collection":6,"collections":583,"showCount":584,"zanCount":163,"manualWeight":163,"mainColor":164},"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","南北朝","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[147,581,227,255,228,153],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[6],65,{"id":53,"slug":586,"title":587,"dynasty":142,"author":297,"museum":265,"description":588,"tags":589,"thumbUrl":590,"material":591,"size":592,"collection":159,"collections":593,"showCount":584,"zanCount":218,"manualWeight":163,"mainColor":164},"lun-shu-tie-huai-su-221098","论书帖","帖前有宋徽宗赵佶金书签题《唐僧怀素行书论书帖》，帖后有乾隆皇帝行书释文，赵孟頫、项元汴等人题跋。 卷中钤有“宣和”、“政和”、“绍兴”、“秋壑图书”、“内府图书之印”、“项子京家珍藏”、“旷奄”、“乾隆”、“嘉庆”、“宣统御鉴之宝”等鉴藏印。\n从艺术风格上看，《论书帖》不同于怀素其他如《自叙帖》、《食鱼帖》等用“古瘦”和“半无墨”的毛笔创作的笔意连绵不绝、体势险绝诡奇、极度夸张浪漫的狂草之作，笔下明显洋溢出东晋王羲之恬淡平和的风神气息。此帖运笔悠然自得，意气平和，应规入矩，精谨而纯熟。其每作一字，起落分明，虽无纵横捭阖之势，但由于擅长驾驭中锋，故能做到笔势圆融婉转、飞动轻灵，骨气深稳，血肉丰润。虽偶作牵连映带，但亦无拖沓之嫌。笔墨流宕处，英姿勃发，气象超然。其结构以平正恒定基调，疏密聚散之间，显露出“端庄杂流丽，刚健寓婀娜”的风致。",[147,153,241,149,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","草书墨迹","纵38.5厘米，横40.5厘米",[159,6],{"id":54,"slug":595,"title":596,"dynasty":597,"author":598,"museum":183,"description":599,"tags":600,"thumbUrl":602,"material":230,"size":214,"collection":159,"collections":603,"showCount":604,"zanCount":248,"manualWeight":163,"mainColor":271},"ping-shu-tie-zhi-guo-221050","评书帖","隋","智果","智果，隋仁寿年间书法家，师从智永，会稽（今浙江绍兴）人。隋炀帝曾说“智永得右军（王羲之）肉，智果得右军骨。”",[153,227,438,601],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe564d6e36aaa834951fd5f5ade936548.jpg",[159,6],61,{"id":55,"slug":606,"title":607,"dynasty":195,"author":196,"museum":183,"description":608,"tags":609,"thumbUrl":610,"material":188,"size":478,"collection":159,"collections":611,"showCount":604,"zanCount":163,"manualWeight":163,"mainColor":164},"yuan-huan-tie-wang-xi-zhi-221037","远宦帖","《远宦帖》亦称《省别帖》，为《十七帖》丛帖第十五通尺牍。草书，6行，53字。王羲之在信中对周抚对家人的问候表示感谢，提及自己的妻子的情况时，对其病重非常担忧。信中还问及陶侃家人和一些同僚的近况。《中国书法全集》对《远宦帖》的书法风格评价为“偏锋侧锋甚明显，体势多有章草意味”。用笔与气势\n《远宦帖》草法以简约为主，虽间有萦绕，亦简略不繁。两字连属者仅有“省别”、“小大”、“子亦”、“数问”、“救命”、“足下”六处，无三字相连者。偶有收笔如章草者，如“不”字，也因笔毫不易遣锋之故，“远”字最后之萦绕，向上回笔处笔锋分岔，正能说明用笔为硬毫，使转、收纵不甚灵便。《远宦帖》其字间隔不大，较为拥密，与《十七帖》中间疏润者不类。字形多向横扁发挥，无一笔纵情直下者。行距颇有余地。\n整篇气势虽不畅速，但和谐无碍，中无滞阻之处。笔画洒落有致，粗细之间匀净清爽，又不失其古朴之趣，从中甚可体会古人作草并不一味求其潦草恣肆，而是凝重而无阻塞；但全面来看，气充意随，一气呵成，如瀑流之激荡，时有浪花泛起，足可流连其间，领悟寄情其间，遣词造句之含蕴。\n《省别帖》用笔的来龙去脉交代得非常清晰，体现了王羲之草书线条的丰富性——用笔中的圆转、方折、连带、割断、轻重、提按等对立因素在起笔、收笔、运笔过程中的运用与变化。其次，结构与章法方面的大小错落、左右穿插、上下移位等因素，也增加了字势的运动感，显得虚活灵动，生机盎然。",[147,153,154,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg",[159,6],{"id":56,"slug":613,"title":614,"dynasty":195,"author":615,"museum":319,"description":616,"tags":617,"thumbUrl":620,"material":257,"size":214,"collection":6,"collections":621,"showCount":622,"zanCount":163,"manualWeight":163,"mainColor":271},"luo-shen-fu-shi-san-xing-bi-yu-ban-wang-xian-zhi-221025","洛神赋十三行·碧玉版","王献之","《洛神赋》是三国时期文学家曹植创作的辞赋名篇。以浪漫主义手法虚构了自己与洛神的邂逅和彼此思恋爱慕的故事。描写人神之间的真挚爱情，但终因“人神殊道”无法结合而惆怅分离。\n《玉版十三行》是王献之小楷代表作，被誉为“小楷极则”，笔画隽秀挺拔，结字萧散逸荡，顾盼有致，盛名千年不衰。墨迹在宋元时有两本，一为晋麻笺本，一为唐硬黄本，上有柳公权跋，疑为柳公权临本。王献之写过不只一本《洛神赋》，原本墨迹写在晋麻笺纸上，也称晋麻笺本，但流传到唐宋时代就已经首尾残损缺失。如今真迹已不复存在了，唯留南宋时残存的竖版十三行二百五十余字内容小楷作品，在宋代的著录类图书《寳刻類編》中，使用了“《洛神赋》十三行”的称谓，自明代以来普遍称为“十三行”，故称“洛神赋十三行”，简称“十三行”。\n后人相传南宋晚期权相贾似道先得晋麻笺本九行，后又续得四行，乃命巧匠摹刻十三行于佳石之上。因石色深暗青碧材质细腻如玉，出于对书法作品的尊敬，后人尊称为玉版，世称“玉版十三行”，又称“碧玉十三行”。\n后因宋元战火“玉版十三行”石版下落不明，直至明万历年间，在杭州西湖葛岭半闲堂旧址地下发现一方石刻，因其出土地为贾似道半闲堂旧址，时人根据各种资料推论，这就是晋麻笺本“玉版十三行”。“玉版十三行”复得后，归陆梦鹤、翁嵩年。\n这件“碧玉版十三行”到底是谁刻的，目前来说还没有定论，有人认为是翻刻自《寶晉齋法帖》，而《寶晉齋法帖》是南宋曹知格所刻，成于咸淳四年（1268年）。目前藏于首博的这件“玉版十三行”被鉴定为宋代刻石。\n目前认为流传下来的刻本为宋代根据真迹上石的拓本，包括“碧玉版”和“白玉版”两种，“白玉版”为明、清两代宫廷命巧匠根据“碧玉版”将其内容摹刻于白玉之上，有明版和清乾隆版两种，为“碧玉版”的翻版。明“白玉版本”，笔划比“碧玉版本”略枯瘦，石花剥落处有刀刻的痕迹，可知是“碧玉版”翻刻本。明“白玉版”在清代嘉庆三年毁于乾清宫火灾。",[227,255,153,200,618,619],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357fc44a3319b6da2cf411f5a623960e.jpg",[6],60,{"id":57,"slug":624,"title":625,"dynasty":195,"author":196,"museum":144,"description":626,"tags":627,"thumbUrl":630,"material":631,"size":632,"collection":159,"collections":633,"showCount":634,"zanCount":163,"manualWeight":163,"mainColor":423},"yu-hou-tie-wang-xi-zhi-221038","雨后贴","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[153,154,601,628,438,171,629],"题跋","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[159,6],58,{"id":58,"slug":636,"title":637,"dynasty":142,"author":638,"museum":319,"description":639,"tags":640,"thumbUrl":641,"material":642,"size":643,"collection":159,"collections":644,"showCount":645,"zanCount":218,"manualWeight":163,"mainColor":271},"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[147,153,279,227,149,152,242,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[159,6],56,{"id":59,"slug":647,"title":648,"dynasty":597,"author":318,"museum":319,"description":649,"tags":650,"thumbUrl":653,"material":654,"size":655,"collection":6,"collections":656,"showCount":657,"zanCount":163,"manualWeight":163,"mainColor":271},"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[147,255,153,172,651,652],"篆书","碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","拓片","64.36*116.38厘米",[6],53,{"id":60,"slug":659,"title":660,"dynasty":142,"author":182,"museum":144,"description":288,"tags":661,"thumbUrl":662,"material":230,"size":663,"collection":159,"collections":664,"showCount":665,"zanCount":163,"manualWeight":163,"mainColor":261},"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[147,153,154,255,149,200,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[159,6],51,{"id":61,"slug":667,"title":668,"dynasty":142,"author":435,"museum":144,"description":669,"tags":670,"thumbUrl":671,"material":157,"size":672,"collection":159,"collections":673,"showCount":674,"zanCount":163,"manualWeight":163,"mainColor":271},"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[147,171,153,149,154,227,152,300,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[159,6],50,{"id":62,"slug":676,"title":677,"dynasty":142,"author":275,"museum":319,"description":678,"tags":679,"thumbUrl":680,"material":230,"size":681,"collection":159,"collections":682,"showCount":674,"zanCount":218,"manualWeight":163,"mainColor":164},"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[147,279,153,227,149,171,228,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[159,6],{"id":63,"slug":684,"title":685,"dynasty":142,"author":168,"museum":183,"description":686,"tags":687,"thumbUrl":692,"material":214,"size":693,"collection":159,"collections":694,"showCount":674,"zanCount":218,"manualWeight":163,"mainColor":164},"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[153,154,300,149,171,172,230,601,688,689,690,691],"人物题材","书卷形式","笔墨技法","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[159,6],{"id":64,"slug":696,"title":697,"dynasty":142,"author":396,"museum":265,"description":698,"tags":699,"thumbUrl":700,"material":230,"size":701,"collection":159,"collections":702,"showCount":703,"zanCount":163,"manualWeight":163,"mainColor":164},"qian-zi-wen-quan-juan-sun-guo-ting-221082","千字文全卷","孙过庭（活动於七世纪後期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之後，遂专注於书法研究。",[147,171,149,241,153,152,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478245946dbc530b0f20c7fa56686df.jpg","25.7cmX82.5cm",[159,6],47,{"id":65,"slug":705,"title":706,"dynasty":142,"author":182,"museum":144,"description":288,"tags":707,"thumbUrl":708,"material":230,"size":663,"collection":159,"collections":709,"showCount":710,"zanCount":163,"manualWeight":163,"mainColor":271},"zheng-zuo-wei-tie-yan-zhen-qing-221056","争座位帖",[147,153,154,255,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f31613656912ca6722b669276b4fd.jpg",[159,6],46,{"id":66,"slug":712,"title":713,"dynasty":222,"author":223,"museum":511,"description":714,"tags":715,"thumbUrl":716,"material":244,"size":717,"collection":159,"collections":718,"showCount":719,"zanCount":248,"manualWeight":163,"mainColor":164},"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[147,154,153,200,255,152,149,300,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[159,6],42,{"id":67,"slug":721,"title":722,"dynasty":142,"author":318,"museum":144,"description":723,"tags":724,"thumbUrl":726,"material":214,"size":727,"collection":159,"collections":728,"showCount":729,"zanCount":248,"manualWeight":163,"mainColor":271},"da-bao-ji-jing-juan-di-san-shi-er-jin-zi-da-zang-jing-yi-ming-221091","大宝积经卷第三十二金字大藏经","此作用磁青纸为底，泥金小楷书就，靛蓝如深谧夜幕，金墨似碎钻凝光，视觉上庄雅夺目。唐人小楷结体端秀匀整，笔力圆劲内敛，通篇数十万字无一疏怠，法度谨严，尽显写经人奉持恭谨之心。\n整卷铺展如星河长流，暗合经文肃穆禅意，泥金历千年依旧煌煌夺目，纸色沉穆古雅。它既彰显了唐代佛教文化的鼎盛，也展现出彼时写经技艺的巅峰水准，笔墨间饱含虔诚的信仰之力，是书法工艺与宗教内核完美融合的传世瑰宝。",[147,228,153,279,227,725,149,242],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[159,6],40,{"id":68,"slug":731,"title":732,"dynasty":733,"author":318,"museum":319,"description":734,"tags":735,"thumbUrl":736,"material":214,"size":214,"collection":6,"collections":737,"showCount":738,"zanCount":163,"manualWeight":163,"mainColor":261},"jiu-cheng-gong-li-quan-ming-yi-ming-242216","九成宫醴泉铭","宋","此拓本墨色沉凝古雅，字口清朗分明，尽显欧楷中正端严的庙堂气象。笔画瘦硬通神，刚劲秀挺间不失温润灵动，转折处方圆兼济，将法度与意趣相融。排布匀整舒展，字字如精工雕琢的良玉，既具碑刻的厚重沉稳，又留存笔墨书写的自然意韵，尽显初唐楷书的极致风骨，堪称楷则典范，让人于纸端窥见唐楷巅峰的雅致端庄。",[153,255,227,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e8ebd291b14edac1bd0cb3f75394f.jpg",[6],37,{"id":69,"slug":740,"title":741,"dynasty":142,"author":742,"museum":319,"description":743,"tags":744,"thumbUrl":745,"material":746,"size":747,"collection":159,"collections":748,"showCount":749,"zanCount":218,"manualWeight":163,"mainColor":271},"shi-ting-ji-qian-qiu-ting-ji-guo-yan-jin-221072","石亭记千秋亭记","郭延瑾","千秋亭原名石亭，唐开元十八年铜山县尉崔文邕创建，开元十九年改称千秋亭，诗序可证。清末康有为曾得《千秋亭记》拓本，秘不示人，潜心摩习。古文字学家、金石篆刻家、书法家商承柞先生认为：“康氏得此拓本后，视为至宝，刻意摹写，并在该刻笔势的基础上，予以进一步的夸张，遂成‘康体’”。今亭和刻石皆废，仅拓片传世。",[147,255,153,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[159,6],34,{"id":70,"slug":751,"title":752,"dynasty":195,"author":196,"museum":183,"description":753,"tags":754,"thumbUrl":755,"material":214,"size":756,"collection":159,"collections":757,"showCount":758,"zanCount":163,"manualWeight":163,"mainColor":164},"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[153,154,255,200,171,199,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[159,6],32,{"id":71,"slug":760,"title":761,"dynasty":195,"author":762,"museum":183,"description":763,"tags":764,"thumbUrl":765,"material":438,"size":766,"collection":6,"collections":767,"showCount":758,"zanCount":163,"manualWeight":163,"mainColor":261},"bei-song-ta-jiang-tie-ba-ce-liu-ling-221012","北宋榻绛帖 （八）册","刘伶","一醉能醉三年？刘伶不信这个邪。他走进酒馆，问杜康要酒喝，杜康给了他一杯、两杯、三杯，不断地劝他别喝多了。刘伶不依不饶，三杯下肚，顿觉天旋地转，连忙道别。\n刘伶跌跌撞撞回到了家，对妻子交代：「我若死，就埋在酒池内，用酒盅酒壶陪葬。」说完，就人事不知，连呼吸也没有了。刘伶妻子以为他死了，痛哭不已。后来，照刘伶的「遗愿」，妻子安葬了他。\n三年后，杜康来到刘伶家，说是来讨要酒钱的。刘伶的妻子又气又恨，恨杜康给刘伶喝酒喝死了人，要拉杜康去见官。不料，杜康却说：「你的丈夫并没有死，他只是醉了。不信你们把棺材打开。」\n众人将信将疑，如杜康所言，开棺查看。果真见刘伶面色红润，栩栩如生。只听杜康高声叫道：「刘伶醒来，刘伶醒来！」棺材里的刘伶伸了一下懒腰，打个哈欠，居然真的活过来了，嘴里还说道：「好酒，好酒！」",[255,153,200,438,152,154,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 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[110] －1849年11月27日 ），字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 。生平著述丰富，撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[857,227,279,438,858,152,153,242,859],"清代","金书","装饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66e7fce4cddb8dbe65e647ec9a947ab.jpg","25.3x50.8 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好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[147,153,154,870,152,230,857],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[6],18,{"id":83,"slug":876,"title":877,"dynasty":733,"author":318,"museum":319,"description":878,"tags":879,"thumbUrl":880,"material":214,"size":214,"collection":6,"collections":881,"showCount":882,"zanCount":163,"manualWeight":163,"mainColor":271},"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","此拓本墨色苍润沉凝，字口锋棱宛然留存。行书笔致灵动舒展，遒劲与秀逸兼具，尽显晋人尺牍的萧散风神。\n\n字间排布错落暗含章法，笔势映带自然，将魏晋名士疏朗通脱的气质藏在点捺流转之中。虽经刊刻拓印，却未掩笔法精妙细节，提按转合间的细腻意趣清晰可见，尽显刻帖的金石意趣与书法本身的隽雅风骨，让观者得以窥见古法书韵的雅致精妙。",[153,255,200,212,154,322,651,241,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[6],17,{"id":84,"slug":884,"title":885,"dynasty":733,"author":318,"museum":319,"description":886,"tags":887,"thumbUrl":888,"material":214,"size":214,"collection":6,"collections":889,"showCount":890,"zanCount":163,"manualWeight":163,"mainColor":271},"chun-hua-ge-tie-yi-ming-242214","淳化阁帖","此作为行书刻帖，点画灵动秀逸，提按转折间尽显二王一脉的隽永风神。结体欹正相生，字势错落又彼此顾盼，行气连贯悠长。虽为刻拓本，却精准还原原作笔墨细节，刀痕隐于笔意之下，墨色沉凝古雅，将尺牍随性自然的意趣与端雅气度相融。\n\n所录书札既有日常手翰的松弛灵动，亦不失雍容之韵，刻工精妙，完整留存了原作使转的细腻层次，尽显宋刻法帖的典型风貌，是兼具临习价值与鉴藏意义的行书佳范。",[153,255,200,154,227,242,212,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[6],16,{"id":85,"slug":892,"title":893,"dynasty":577,"author":318,"museum":319,"description":894,"tags":895,"thumbUrl":898,"material":214,"size":214,"collection":6,"collections":899,"showCount":900,"zanCount":163,"manualWeight":163,"mainColor":271},"bei-wei-wang-song-qi-yuan-gui-fei-mu-zhi-ming-yi-ming-227070","北魏王诵妻元贵妃墓志铭","王诵（482~528年），字国章，琅琊临沂（今山东省临沂市）人。北魏大臣，黄门侍郎王融的儿子。\n出身琅琊王氏，颇有文才，神气清秀，风流俊美。起家员外散骑侍郎、迁前将军、通直散骑常侍，迎娶安丰王元猛之女元贵妃。正光末年，出任左将军、幽州刺史，入朝担任秘书监、度支尚书，迁给事黄门侍郎。\n建义元年，遇害于河阴之变，获赠骠骑大将军、司空公、尚书左仆射、徐州都督，谥号文宣。",[255,153,227,581,817,896,577,827,652,897],"拓印","墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc2e43c873bcdc5f33b0bf6d5cdf263.jpg",[6],15,{"id":86,"slug":902,"title":903,"dynasty":733,"author":318,"museum":144,"description":904,"tags":905,"thumbUrl":906,"material":157,"size":907,"collection":6,"collections":908,"showCount":900,"zanCount":163,"manualWeight":163,"mainColor":271},"yi-zheng-ruan-shi-tian-yi-ge-shi-gu-wen-yi-ming-223352","仪征阮氏天一阁石鼓文","石鼓文，秦刻石文字，因其刻石外形似鼓而得名。石鼓刻石文字多残，北宋欧阳修录时存四百六十五字，明代范氏天一阁藏本仅四百六十二字，而今之“马荐”鼓已一字无存。",[651,255,153,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6d82c31b7d702f07bdff3659fde756.jpg","35x517",[6],{"id":87,"slug":910,"title":911,"dynasty":142,"author":912,"museum":319,"description":913,"tags":914,"thumbUrl":915,"material":654,"size":916,"collection":6,"collections":917,"showCount":918,"zanCount":163,"manualWeight":163,"mainColor":271},"shao-run-zhi-lei-ji-e-shi-wei-ze-221104","邵润之诔及额","史惟则","史惟则（生卒年不详），广陵人（今江苏扬州人），官至殿中侍御史，人称史侍御。唐朝著名书法家，其籀、篆、八分，如王公大人，进退有度，与韩择木、蔡有邻、李潮四人称唐世分隶名家。宋陈思《书小史》称其隶书“迫近钟书，发笔方广，字形俊美亦为时重。又善篆籀、飞白”。传世的书迹有《大智禅师碑》等。",[147,465,255,153,322,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b681d9301fc4c6b8318b6457f1a0fbf.jpg","64.18×135.47厘米",[6],14,{"id":88,"slug":920,"title":921,"dynasty":577,"author":318,"museum":265,"description":922,"tags":923,"thumbUrl":925,"material":227,"size":926,"collection":6,"collections":927,"showCount":928,"zanCount":163,"manualWeight":163,"mainColor":271},"yuan-qin-mu-zhi-yi-ming-226528","元钦墓志","北魏墓志中保存了许多史书未曾记载或载之不详的重要史料，《元钦墓志》为其一种。元钦是恭景穆帝之孙，官至侍中司空公开国侯，赠侍中太师、骠骑大将军、定州刺史。史书记载，公元528年，河北起义军将领葛荣率军进攻洛阳，北魏朝廷为之震动。尔朱荣受遣，率精锐骑兵至邺县，击溃义军，俘杀葛荣。尔朱荣也因此掌握了军政实权，并于同年，杀害无上王元劭、开始平王元子正等十三王及公卿以下两千余人。元钦墓志中的“上天不吊，降祸斯人”即喻元钦是这次政变的受害人之一。",[147,255,153,227,652,924,817,827],"魏晋南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b84b33fdb908748824e3060102eb11.jpg","高八二点八厘米，宽八六点一厘米",[6],13,{"id":89,"slug":930,"title":931,"dynasty":844,"author":932,"museum":319,"description":933,"tags":934,"thumbUrl":936,"material":230,"size":214,"collection":6,"collections":937,"showCount":928,"zanCount":163,"manualWeight":163,"mainColor":164},"fa-tie-hong-yi-fa-shi-223275","法帖","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[147,153,227,300,152,935,200],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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