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g":1131,"title":1132,"dynasty":1050,"author":1133,"museum":1052,"description":1134,"tags":1135,"thumbUrl":1136,"material":1082,"size":1137,"collection":6,"collections":1138,"showCount":1139,"zanCount":1140,"manualWeight":1068,"mainColor":1103},"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","苏轼","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 年、中、苇、纸 等字，最后一笔直下，形成长竖，在线条的设计和线条的气韵上，以及整个篇章上，形成了特殊的行间白。苏东坡是宋代商彝书风的代表人物之一。黄庭坚在1100年农历九月前为此卷写了一篇后记，字的大小比东坡的寒食诗要大。",[1056,1058,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7723c13ef48428ea30b7065ed74c254.jpg","34.2x199.5",[6],803,10,{"id":18,"slug":1142,"title":1143,"dynasty":1144,"author":1145,"museum":1075,"description":1146,"tags":1147,"thumbUrl":1149,"material":1082,"size":1150,"collection":6,"collections":1151,"showCount":1152,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yu-hou-tie-wang-xi-zhi-214582","雨后帖","晋","王羲之","《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。",[1058,1059,1093,1148,1062,1080,1079],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65b1f972a6e224b50a9893ad0e555b0.jpg","25.7x14.9",[6],771,{"id":19,"slug":1154,"title":1155,"dynasty":1156,"author":1157,"museum":1075,"description":1158,"tags":1159,"thumbUrl":1164,"material":1165,"size":1166,"collection":6,"collections":1167,"showCount":1169,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","唐","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[1055,1057,1110,1160,1161,1062,1059,1060,1162,1163],"设色","工笔","牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","绢本","525.92X21.6cm",[6,1168],"碑帖精选",654,{"id":20,"slug":1171,"title":1172,"dynasty":1173,"author":1174,"museum":1075,"description":1175,"tags":1176,"thumbUrl":1184,"material":1185,"size":1186,"collection":1187,"collections":1188,"showCount":1190,"zanCount":1191,"manualWeight":1068,"mainColor":1103},"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","明","沈周","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[1057,1061,1080,1177,1178,1179,1180,1181,1182,1183],"皴法","山水","柳树","人物","坐钓","山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米","人物画精选",[1187,1189,6],"水墨画精选",649,5,{"id":21,"slug":1193,"title":1194,"dynasty":1050,"author":1133,"museum":1052,"description":1195,"tags":1196,"thumbUrl":1197,"material":1082,"size":1198,"collection":6,"collections":1199,"showCount":1200,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[1055,1058,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[6],601,2,{"id":22,"slug":1203,"title":1204,"dynasty":1156,"author":1205,"museum":1075,"description":1206,"tags":1207,"thumbUrl":1209,"material":1165,"size":1210,"collection":6,"collections":1211,"showCount":1212,"zanCount":1213,"manualWeight":1068,"mainColor":1103},"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","阎立本","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》。\n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。\n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。\n此卷则为千年传世之本，首尾俱全。\n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》。\n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。\n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》。\n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。",[1055,1057,1058,1110,1161,1160,1180,1208,1062,1059],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[6,1168],564,9,{"id":23,"slug":1215,"title":1216,"dynasty":1050,"author":1133,"museum":1075,"description":1217,"tags":1218,"thumbUrl":1219,"material":1220,"size":1064,"collection":6,"collections":1221,"showCount":1222,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛” ；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[1055,1059,1060,1062,1110,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg","白纸本",[6],531,3,{"id":24,"slug":1225,"title":1226,"dynasty":1073,"author":1074,"museum":1052,"description":1227,"tags":1228,"thumbUrl":1229,"material":1082,"size":1230,"collection":6,"collections":1231,"showCount":1232,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[1055,1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[6],521,{"id":25,"slug":1234,"title":1235,"dynasty":1050,"author":1090,"museum":1122,"description":1236,"tags":1237,"thumbUrl":1238,"material":1239,"size":1240,"collection":6,"collections":1241,"showCount":1242,"zanCount":1213,"manualWeight":1068,"mainColor":1103},"shou-jin-qian-zi-wen-zhao-ji-221340","瘦金千字文","《千字文》是赵佶以其最具个人风格之“瘦金体”书写，整体匀整峭拔，筋骨挺劲，清爽润朗，飘逸灵动，正所谓“铁画银钩”。此种书体取法唐代薛稷、薛曜，把楷书中瘦劲一路发挥到了极致，带有很强的装饰性，成为具有鲜明个人风格的一种书体。\n本卷为宋徽宗赵估于崇宁三年（1104年）二十三岁时书赐童贯。朱丝界栏， 素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[1055,1059,1110,1078,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[6],473,{"id":26,"slug":1244,"title":1245,"dynasty":1050,"author":1133,"museum":1052,"description":1246,"tags":1247,"thumbUrl":1256,"material":1098,"size":1257,"collection":6,"collections":1258,"showCount":1259,"zanCount":1260,"manualWeight":1068,"mainColor":1103},"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[1055,1059,1060,1110,1062,1080,1248,1249,1250,1251,1252,1253,1254,1255],"纸","江","雨","云","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[6],452,6,{"id":27,"slug":1262,"title":1263,"dynasty":1156,"author":1264,"museum":1052,"description":1265,"tags":1266,"thumbUrl":1268,"material":1220,"size":1269,"collection":6,"collections":1270,"showCount":1271,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","颜真卿","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[1055,1059,1060,1110,1062,1267],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[6,1168],451,{"id":28,"slug":1273,"title":1274,"dynasty":1073,"author":1074,"museum":1075,"description":1275,"tags":1276,"thumbUrl":1277,"material":1278,"size":1279,"collection":6,"collections":1280,"showCount":1281,"zanCount":1282,"manualWeight":1068,"mainColor":1103},"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[1055,1056,1057,1058,1110,1060,1059,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[6],449,11,{"id":29,"slug":1284,"title":1285,"dynasty":1156,"author":1286,"museum":1287,"description":1288,"tags":1289,"thumbUrl":1293,"material":1294,"size":1064,"collection":6,"collections":1295,"showCount":1296,"zanCount":1191,"manualWeight":1068,"mainColor":1069},"lan-ting-xu-ou-yang-xun-214599","兰亭序","欧阳询","藏地不详","兰亭序是中国唐代文学家、诗人欧阳询的代表作之一。这首诗以兰亭为题，记录了欧阳询观赏兰花的感受。\n\n兰亭序共五言，结构严谨，语言优美，内容浅显易懂，是中国古典诗歌中较为著名的小令。兰亭序的前两句描写了兰花的美丽，第三句表达了欧阳询对兰花的喜爱，第四句赞扬了兰花的优雅，最后一句讽刺了当时的社会和政治现实。\n\n兰亭序被誉为“小令之王”，在中国文学史上占有重要地位。它被广泛用于中国古代文学教材，也是中国传统文化中常常被提及的代表作之一。",[1059,1060,1290,1291,1292],"拓本","临摹","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b9c4a74679c00af5b2ca51b36015d.jpg","纸本,拓本",[6],442,{"id":30,"slug":1298,"title":1299,"dynasty":1300,"author":1301,"museum":1287,"description":1302,"tags":1303,"thumbUrl":1306,"material":1307,"size":1308,"collection":1309,"collections":1310,"showCount":1311,"zanCount":1260,"manualWeight":1068,"mainColor":1103},"lan-tu-li-zhou-1-zheng-ban-qiao-223293","兰图立轴1","清","郑板桥","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[1055,1057,1061,1080,1304,1305],"兰","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57039f31b151a503cb5a4f3d5ae523c.jpg","纸本，水墨","182x57cm","花鸟画精选",[1309,1189,6],427,{"id":31,"slug":1313,"title":1314,"dynasty":1144,"author":1145,"museum":1052,"description":1315,"tags":1316,"thumbUrl":1317,"material":1220,"size":1318,"collection":6,"collections":1319,"showCount":1320,"zanCount":1260,"manualWeight":1068,"mainColor":1103},"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一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。",[1055,1056,1057,1058,1110,1062,1060,1059,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[6,1168],387,{"id":32,"slug":1322,"title":1323,"dynasty":1050,"author":1324,"museum":1052,"description":1325,"tags":1326,"thumbUrl":1327,"material":1063,"size":1328,"collection":6,"collections":1329,"showCount":1330,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[1055,1059,1060,1062,1080,1058,1079,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[6],384,{"id":33,"slug":1332,"title":1060,"dynasty":1300,"author":1333,"museum":1052,"description":1334,"tags":1335,"thumbUrl":1336,"material":1082,"size":1337,"collection":6,"collections":1338,"showCount":1339,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-kang-you-wei-214199","康有为","释文：浩风无量刼。所寓知几舍。三十有二相。示现随变化。康有为。",[1055,1300,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab696d5e99f70e246cbc8a67159777c.jpg","95.7x46.2",[6],362,{"id":34,"slug":1341,"title":1342,"dynasty":1343,"author":1344,"museum":1075,"description":1345,"tags":1346,"thumbUrl":1352,"material":1165,"size":1353,"collection":6,"collections":1354,"showCount":1355,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"you-chun-tu-zhan-zi-qian-221049","游春图","隋","展子虔","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[1055,1057,1058,1110,1347,1160,1178,1180,1348,1349,1183,1350,1351],"青绿","楼阁","小桥","飞鸟","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[6],350,{"id":35,"slug":1357,"title":1358,"dynasty":1050,"author":1133,"museum":1359,"description":1360,"tags":1361,"thumbUrl":1363,"material":1080,"size":1064,"collection":6,"collections":1364,"showCount":1365,"zanCount":1223,"manualWeight":1068,"mainColor":1069},"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","美国弗利尔美术馆","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[1055,1056,1057,1058,1110,1080,1362,1059,1060],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[6],348,{"id":36,"slug":1367,"title":1368,"dynasty":1300,"author":1369,"museum":1052,"description":1370,"tags":1371,"thumbUrl":1372,"material":1082,"size":1373,"collection":6,"collections":1374,"showCount":1375,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"lin-huang-shan-gu-ti-zhou-fang-hua-qin-ruan-tu-liu-yong-214198","临黄山谷题周昉画琴阮图","刘墉","临黄山谷题周昉画琴阮图是清代诗人刘墉的一首诗作。\n\n刘墉（1679年-1733年），字清哲，汉族，浙江桐乡人，清代诗人、文学家。他是清代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格婉转、清新，有浓厚的写实感，被认为是清代文学中的经典之作。\n\n临黄山谷题周昉画琴阮图是刘墉的一首著名诗作，其中描写了黄山的风景。这首诗的气势磅礴，描写了黄山的雄伟景色，表达了作者对黄山的崇敬之情。诗中还描写了周昉画琴阮图的情景，表现了作者对艺术的热爱。\n\n整首诗的意境深远，描写细腻，是刘墉的代表作之一，也是清代文学中的经典之作。",[1055,1059,1060,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3642eba9721dbe21f759d69be88206.jpg","104x33.6",[6],345,{"id":37,"slug":1377,"title":1378,"dynasty":1156,"author":1264,"museum":1075,"description":1379,"tags":1380,"thumbUrl":1381,"material":1098,"size":1382,"collection":6,"collections":1383,"showCount":1384,"zanCount":1385,"manualWeight":1068,"mainColor":1386},"da-tang-zhong-xing-song-shang-ce-yan-zhen-qing-214423","大唐中兴颂上册","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第一卷。",[1059,1078,1290,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d0b8cf62ec43954df79bc727074ca7.jpg","29.3x15.5",[6],327,1,"37474F",{"id":38,"slug":1388,"title":1389,"dynasty":1156,"author":1390,"museum":1075,"description":1391,"tags":1392,"thumbUrl":1393,"material":1098,"size":1394,"collection":6,"collections":1395,"showCount":1396,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[1055,1058,1059,1060,1062,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[6],320,{"id":39,"slug":1398,"title":1399,"dynasty":1050,"author":1400,"museum":1287,"description":1401,"tags":1402,"thumbUrl":1403,"material":1404,"size":1405,"collection":6,"collections":1406,"showCount":1407,"zanCount":1129,"manualWeight":1068,"mainColor":1069},"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[1055,1056,1057,1058,1110,1059,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[6],280,{"id":40,"slug":1409,"title":1410,"dynasty":1144,"author":1145,"museum":1411,"description":1412,"tags":1413,"thumbUrl":1415,"material":1098,"size":1416,"collection":6,"collections":1417,"showCount":1418,"zanCount":1191,"manualWeight":1068,"mainColor":1103},"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[1055,1059,1078,1093,1110,1098,1062,1112,1414,1291],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[6],274,{"id":41,"slug":1420,"title":1421,"dynasty":1173,"author":1422,"museum":1052,"description":1423,"tags":1424,"thumbUrl":1427,"material":1082,"size":1428,"collection":6,"collections":1429,"showCount":1430,"zanCount":1431,"manualWeight":1068,"mainColor":1103},"zui-weng-ting-ji-wen-zheng-ming-214381","醉翁亭记","文徵明","这是一本非常精美的欧阳修的小楷《醉翁亭记》，写于82岁，后面有一个长长的后记，解释了他用王羲之的风格做这个小楷的原因。是其传世小楷之极品，笔触有力、扎实、精致。",[1078,1109,1059,1093,1062,1425,1426],"亭","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3961e4e010b11405c3cabb48ce358a18.jpg","28.6x53.5",[6],273,7,{"id":42,"slug":1433,"title":1434,"dynasty":1156,"author":1435,"museum":1075,"description":1436,"tags":1437,"thumbUrl":1438,"material":1098,"size":1439,"collection":6,"collections":1440,"showCount":1441,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[1055,1059,1060,1291,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[6],267,{"id":43,"slug":1443,"title":1444,"dynasty":1050,"author":1445,"museum":1359,"description":1446,"tags":1447,"thumbUrl":1453,"material":1082,"size":1454,"collection":1187,"collections":1455,"showCount":1441,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[1055,1056,1057,1058,1110,1448,1080,1180,1449,1450,1178,1451,1062,1452],"白描","房屋","树木","马","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 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436.2",[1187,6],{"id":44,"slug":1457,"title":1458,"dynasty":1144,"author":1145,"museum":1459,"description":1460,"tags":1461,"thumbUrl":1462,"material":1463,"size":1464,"collection":6,"collections":1465,"showCount":1466,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[1055,1058,1110,1060,1059,1062,1093,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","绢本,设色","24.4x8.9",[6],266,{"id":45,"slug":1468,"title":1469,"dynasty":1050,"author":1121,"museum":1122,"description":1470,"tags":1471,"thumbUrl":1472,"material":1098,"size":1473,"collection":6,"collections":1474,"showCount":1475,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[1055,1059,1060,1062,1080,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[6],264,{"id":46,"slug":1477,"title":1478,"dynasty":1156,"author":1205,"museum":1075,"description":1479,"tags":1480,"thumbUrl":1481,"material":1482,"size":1483,"collection":1189,"collections":1484,"showCount":1485,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[1055,1056,1057,1058,1110,1160,1180,1161,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","绢本，设色","纵38.5厘米，横129厘米",[1189,6],262,{"id":47,"slug":1487,"title":1488,"dynasty":1144,"author":1489,"museum":1075,"description":1490,"tags":1491,"thumbUrl":1492,"material":1493,"size":1494,"collection":6,"collections":1495,"showCount":1496,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[1055,1059,1148,1110,1080,1098,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[6],256,{"id":48,"slug":1498,"title":1499,"dynasty":1156,"author":1500,"museum":1075,"description":1501,"tags":1502,"thumbUrl":1503,"material":1278,"size":1504,"collection":6,"collections":1505,"showCount":1506,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[1055,1058,1110,1291,1060,1062,1059,1093,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[6],242,{"id":49,"slug":1508,"title":1509,"dynasty":1300,"author":1510,"museum":1052,"description":1511,"tags":1512,"thumbUrl":1514,"material":1082,"size":1515,"collection":6,"collections":1516,"showCount":1517,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[1055,1059,1513,1060,1061,1080,1062],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[6],240,{"id":50,"slug":1519,"title":1520,"dynasty":1156,"author":1521,"museum":1075,"description":1522,"tags":1523,"thumbUrl":1524,"material":1064,"size":1525,"collection":6,"collections":1526,"showCount":1527,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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。",[1055,1059,1060,1291,1110,1062,1058,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[6,1168],230,{"id":51,"slug":1529,"title":1530,"dynasty":1073,"author":1074,"museum":1531,"description":1532,"tags":1533,"thumbUrl":1535,"material":1098,"size":1536,"collection":6,"collections":1537,"showCount":1527,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","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",[1055,1059,1078,1534,1110],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[6,1168],{"id":52,"slug":1539,"title":1540,"dynasty":1156,"author":1541,"museum":1542,"description":1543,"tags":1544,"thumbUrl":1545,"material":1546,"size":1547,"collection":6,"collections":1548,"showCount":1549,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"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。",[1055,1059,1078,1148,1110,1414,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","纸本墨笔","原册每开纵24厘米，横11厘米",[6,1168],226,{"id":53,"slug":1551,"title":1552,"dynasty":1073,"author":1074,"museum":1052,"description":1553,"tags":1554,"thumbUrl":1557,"material":1098,"size":1558,"collection":6,"collections":1559,"showCount":1560,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[1055,1056,1057,1058,1110,1060,1448,1080,1160,1180,1178,1555,1183,1556,1305,1062],"孤舟","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[6],207,{"id":54,"slug":1562,"title":1563,"dynasty":1300,"author":1301,"museum":1564,"description":1565,"tags":1566,"thumbUrl":1568,"material":1569,"size":1570,"collection":1309,"collections":1571,"showCount":1572,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"you-lan-tu-zheng-ban-qiao-223297","幽兰图","辽宁省博物馆","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[1055,1057,1080,1567,1060,1304,1362,1305,1062,1059],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[1309,1189,6],203,{"id":55,"slug":1574,"title":1575,"dynasty":1300,"author":1576,"museum":1052,"description":1577,"tags":1578,"thumbUrl":1581,"material":1463,"size":1582,"collection":6,"collections":1583,"showCount":1584,"zanCount":1201,"manualWeight":1068,"mainColor":1386},"zhuan-shu-ba-yan-lian-yang-yi-sun-214210","篆书八言联","杨沂孙","释文: 上善若水上德若谷。持酒以礼持才以愚",[1055,1579,1513,1580,1059,1061],"清代","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cdd98e7ca26423e27c34e194471a5.jpg","271.9x61.4",[6],200,{"id":56,"slug":1586,"title":1587,"dynasty":1050,"author":1133,"museum":1588,"description":1589,"tags":1590,"thumbUrl":1594,"material":1098,"size":1595,"collection":6,"collections":1596,"showCount":1597,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[1055,1060,1059,1110,1062,1591,1592,1593,1178],"洞庭","松","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[6],196,{"id":57,"slug":1599,"title":1600,"dynasty":1173,"author":1601,"museum":1052,"description":1602,"tags":1603,"thumbUrl":1604,"material":1082,"size":1605,"collection":6,"collections":1606,"showCount":1607,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[1055,1059,1148,1110,1058,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[6],194,{"id":58,"slug":1609,"title":1610,"dynasty":1144,"author":1145,"museum":1611,"description":1612,"tags":1613,"thumbUrl":1615,"material":1616,"size":1064,"collection":6,"collections":1617,"showCount":1618,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"sang-luan-de-shi-er-xie-tie-wang-xi-zhi-221027","《丧乱得示二谢帖》","三之丸尚藏馆","《丧乱得示二谢帖》是唐代内府的双钩填墨摹本，奈良时期由遣唐使传入日本。日本皇室宫内厅三之丸尚藏馆藏。",[1055,1059,1060,1093,1614],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b62cd35fac662a85ccdc68062f08ebe.jpg","尺牍，行书。 纸本",[6],190,{"id":59,"slug":1620,"title":1621,"dynasty":1144,"author":1145,"museum":1564,"description":1622,"tags":1623,"thumbUrl":1624,"material":1064,"size":1064,"collection":6,"collections":1625,"showCount":1626,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《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。",[1055,1059,1110,1060,1148,1291,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[6,1168],189,{"id":60,"slug":1628,"title":1629,"dynasty":1156,"author":1630,"museum":1631,"description":1632,"tags":1633,"thumbUrl":1634,"material":1635,"size":1636,"collection":6,"collections":1637,"showCount":1638,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"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。",[1055,1059,1078,1112,1093,1110,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[6,1168],186,{"id":61,"slug":1640,"title":1641,"dynasty":1156,"author":1264,"museum":1075,"description":1642,"tags":1643,"thumbUrl":1644,"material":1098,"size":1645,"collection":6,"collections":1646,"showCount":1647,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"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。",[1055,1059,1060,1110,1058,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[6,1168],184,{"id":62,"slug":1649,"title":1650,"dynasty":1156,"author":1651,"museum":1052,"description":1652,"tags":1653,"thumbUrl":1654,"material":1220,"size":1655,"collection":6,"collections":1656,"showCount":1657,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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”。",[1055,1059,1148,1110,1062,1093,1058,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[6,1168],183,{"id":63,"slug":1659,"title":1660,"dynasty":1144,"author":1145,"museum":1531,"description":1661,"tags":1662,"thumbUrl":1663,"material":1664,"size":1665,"collection":6,"collections":1666,"showCount":1657,"zanCount":1201,"manualWeight":1068,"mainColor":1386},"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。",[1055,1148,1059,1110,1093,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[6,1168],{"id":64,"slug":1668,"title":1669,"dynasty":1300,"author":1670,"museum":1052,"description":1671,"tags":1672,"thumbUrl":1673,"material":1082,"size":1674,"collection":6,"collections":1675,"showCount":1676,"zanCount":1191,"manualWeight":1068,"mainColor":1103},"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[1055,1059,1060,1080,1061,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[6],177,{"id":65,"slug":1678,"title":1679,"dynasty":1050,"author":1133,"museum":1075,"description":1680,"tags":1681,"thumbUrl":1682,"material":1098,"size":1683,"collection":6,"collections":1684,"showCount":1685,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[1055,1056,1057,1058,1110,1060,1448,1180,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[6],175,{"id":66,"slug":1687,"title":1688,"dynasty":1050,"author":1121,"museum":1075,"description":1689,"tags":1690,"thumbUrl":1691,"material":1098,"size":1692,"collection":6,"collections":1693,"showCount":1694,"zanCount":1223,"manualWeight":1068,"mainColor":1069},"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[1055,1056,1057,1058,1110,1060,1080,1305,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[6],172,{"id":67,"slug":1696,"title":1697,"dynasty":1050,"author":1090,"museum":1052,"description":1698,"tags":1699,"thumbUrl":1704,"material":1165,"size":1705,"collection":6,"collections":1706,"showCount":1707,"zanCount":1223,"manualWeight":1068,"mainColor":1069},"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[1055,1059,1093,1110,1078,1094,1062,1700,1701,1702,1703],"牡丹","庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","纵27.2厘米，横265.9厘米",[6],171,{"id":68,"slug":1709,"title":1710,"dynasty":1050,"author":1121,"museum":1052,"description":1711,"tags":1712,"thumbUrl":1713,"material":1082,"size":1714,"collection":6,"collections":1715,"showCount":1707,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shu-lun-shu-mi-fei-218543","书论书","此帖是关于宋代四大书法家真迹的一部分，虽无行书，但被公认为米芾真迹。此帖也是米芾 尊晋重唐 的书法理念的体现，他推崇晋国书法家，贬低唐国书法家。米芾判断的最高境界是 简单而天真。与米芾在其他书中的反复变化相比，此帖沉稳内敛，有深沉的晋国韵味，他主张的审美规范是一致的。",[1058,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf4c420e92725c7fca687156352387b.jpg","24.7x37",[6],{"id":69,"slug":1717,"title":1718,"dynasty":1156,"author":1264,"museum":1719,"description":1720,"tags":1721,"thumbUrl":1722,"material":1723,"size":1724,"collection":6,"collections":1725,"showCount":1726,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"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。",[1055,1059,1060,1267,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[6,1168],170,{"id":70,"slug":1728,"title":1729,"dynasty":1050,"author":1051,"museum":1052,"description":1730,"tags":1731,"thumbUrl":1738,"material":1220,"size":1739,"collection":6,"collections":1740,"showCount":1741,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[1055,1056,1059,1060,1098,1732,1733,1734,1735,1736,1737,1110,1058],"宋代","墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[6],169,{"id":71,"slug":1743,"title":1744,"dynasty":1156,"author":1286,"museum":1075,"description":1745,"tags":1746,"thumbUrl":1747,"material":1082,"size":1748,"collection":6,"collections":1749,"showCount":1750,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-214512","宋拓唐虞恭公温彦博碑","此卷名为《虞恭公温彦博碑》，由岑文本作，欧阳询撰文，唐代刻本，宋代拓本，是《蔼蔼高门》中 高 字的未损坏版本。精美的黑墨水地形图，经裁剪后装在小册子里。虞恭公温彦博碑，又称温彦博碑，立于唐贞观十一年（637年）十月，位于陕西省礼泉县。这块石碑是用纯文字书写的，共有36行77个字符。前言是四行16字的篆书。这块石碑是陕西礼泉昭陵太宗（李世民）墓的陪葬碑之一。\n这块石碑上的书法艺术具有极高的价值，被历代书法家所称道。王虚舟跋曰：“史称欧阳询卒于贞观间，年八十五岁，此碑书于贞观十一年，是率更最晚的作品。复四年，尚有小楷千文，计书此碑，亦已将八十矣。而圆秀膄劲，与《醴泉》、《化度》不殊，宜其特出有唐，为百代模楷也。",[1055,1059,1078,1290,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ed2ced78623c5d7dd690f27719b9d0.jpg","18.3x9.2",[6],168,{"id":72,"slug":1752,"title":1753,"dynasty":1073,"author":1074,"museum":1754,"description":1755,"tags":1756,"thumbUrl":1757,"material":1098,"size":1758,"collection":6,"collections":1759,"showCount":1760,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[1055,1056,1057,1058,1110,1448,1060,1112,1534,1062,1180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[6],164,{"id":73,"slug":1762,"title":1763,"dynasty":1050,"author":1051,"museum":1052,"description":1764,"tags":1765,"thumbUrl":1773,"material":1220,"size":1774,"collection":6,"collections":1775,"showCount":1776,"zanCount":1223,"manualWeight":1068,"mainColor":1777},"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[1055,1059,1060,1062,1592,1766,1767,1768,1769,1770,1771,1253,1250,1772,1348],"泉","山","川","野僧","寒溪","坡道","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[6],161,"F48FB1",{"id":74,"slug":1779,"title":1780,"dynasty":1050,"author":1781,"museum":1564,"description":1782,"tags":1783,"thumbUrl":1784,"material":1160,"size":1785,"collection":6,"collections":1786,"showCount":1776,"zanCount":1201,"manualWeight":1068,"mainColor":1386},"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[1055,1110,1059,1058,1060,1513,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[6],{"id":75,"slug":1788,"title":1789,"dynasty":1073,"author":1074,"museum":1122,"description":1790,"tags":1791,"thumbUrl":1797,"material":1165,"size":1798,"collection":6,"collections":1799,"showCount":1776,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[1055,1110,1059,1060,1555,1792,1556,1793,1249,1767,1794,1795,1796,1062],"夕阳","秋风","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[6],{"id":76,"slug":1801,"title":1802,"dynasty":1050,"author":1133,"museum":1122,"description":1803,"tags":1804,"thumbUrl":1805,"material":1082,"size":1806,"collection":6,"collections":1807,"showCount":1776,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[1058,1110,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[6],{"id":77,"slug":1809,"title":1810,"dynasty":1073,"author":1074,"museum":1075,"description":1811,"tags":1812,"thumbUrl":1813,"material":1098,"size":1814,"collection":6,"collections":1815,"showCount":1816,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《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。《黄庭经》引，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，有秀美开朗之意态。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》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[1055,1059,1112,1078,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[6],159,{"id":78,"slug":1818,"title":1819,"dynasty":1073,"author":1074,"museum":1820,"description":1821,"tags":1822,"thumbUrl":1834,"material":1098,"size":1835,"collection":6,"collections":1836,"showCount":1837,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[1055,1059,1060,1111,1823,1824,1767,1825,1826,1827,1828,1829,1830,1831,1832,1833],"笔法圆润","结体秀逸","水","龙","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[6],156,{"id":79,"slug":1839,"title":1840,"dynasty":1144,"author":1489,"museum":1122,"description":1841,"tags":1842,"thumbUrl":1843,"material":1063,"size":1844,"collection":6,"collections":1845,"showCount":1837,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[1056,1057,1058,1059,1148,1098,1733,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[6],{"id":80,"slug":1847,"title":1848,"dynasty":1050,"author":1849,"museum":1052,"description":1850,"tags":1851,"thumbUrl":1852,"material":1082,"size":1853,"collection":6,"collections":1854,"showCount":1855,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 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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。",[1055,1059,1078,1110,1080,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[6,1168],141,{"id":85,"slug":1896,"title":1897,"dynasty":1050,"author":1898,"museum":1899,"description":1900,"tags":1901,"thumbUrl":1910,"material":1482,"size":1911,"collection":6,"collections":1912,"showCount":1913,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","美国波士顿博物馆","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[1055,1056,1057,1058,1110,1178,1080,1160,1177,1902,1450,1903,1904,1905,1906,1907,1425,1908,1909],"淡墨","湖水","小船","岸堤","远山","草木","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[6],139,{"id":86,"slug":1915,"title":1916,"dynasty":1050,"author":1133,"museum":1052,"description":1917,"tags":1918,"thumbUrl":1920,"material":1082,"size":1198,"collection":6,"collections":1921,"showCount":1922,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"du-hai-tie-su-shi-214384","渡海帖","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[1059,1060,1062,1058,1919,1111],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg",[6],138,{"id":87,"slug":1924,"title":1925,"dynasty":1156,"author":1926,"museum":1564,"description":1927,"tags":1928,"thumbUrl":1929,"material":1635,"size":1064,"collection":6,"collections":1930,"showCount":1931,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"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。”",[1055,1059,1148,1110,1058,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[6,1168],137,{"id":88,"slug":1933,"title":1934,"dynasty":1173,"author":1935,"museum":1936,"description":1937,"tags":1938,"thumbUrl":1939,"material":1098,"size":1940,"collection":6,"collections":1941,"showCount":1942,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"teng-wang-ge-xu-wen-zheng-ming-221999","滕王阁序","文徴明","苏州博物馆","文徵明书法初师李应祯，后广泛学习前代名迹，篆、隶、楷、行、草各有造诣。尤擅长行书和小楷，温润秀劲，法度谨严而意态生动。虽无雄浑的气势，却具晋唐书法的风致，也有自己的一定风貌。小楷笔划婉转，节奏缓和，与他的绘画风格谐和，有“明朝第一”之称。",[1055,1110,1093,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2ada68a9278ee56f351e4bb9b6a147.jpg","23.5×211cm",[6],136,{"id":89,"slug":1944,"title":1945,"dynasty":1156,"author":1264,"museum":1075,"description":1946,"tags":1947,"thumbUrl":1948,"material":1098,"size":1382,"collection":6,"collections":1949,"showCount":1942,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"da-tang-zhong-xing-song-xia-ce-1-yan-zhen-qing-214477","大唐中兴颂下册-1","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[1059,1078,1290,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e1815a2be3556f1076f686cd2bf3cd.jpg",[6],{"id":90,"slug":1951,"title":1952,"dynasty":1300,"author":1953,"museum":1052,"description":1954,"tags":1955,"thumbUrl":1957,"material":1082,"size":1958,"collection":6,"collections":1959,"showCount":1960,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"li-shu-wu-yan-lian-deng-shi-ru-214237","隶书五言联","邓石如","墨色如黛染古帛，线条刚劲却藏婉转之姿。篆意融于隶法，蚕头燕尾间见筋骨，波磔舒展似流云轻卷。联语字句端稳，与书法宽博大气相映，济世之怀的沉雄、自省之谦的温润，皆融于笔墨。每一笔皆含力道，每一字尽显格局，古朴雅正的气息漫溢纸间。落笔从容，力道内敛，既有金石的硬朗质感，又具书卷的雅致韵致，是隶书中筋骨与情味兼备的精品。观之如对古贤，心沉气静，仿佛触摸到书写时的赤诚与从容，笔墨间流淌的不仅是技艺，更是一份通透的人生襟怀。",[1055,1059,1956,1580,1061,1062,1080],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761641a19b9d433dd6956d00196e19b2.jpg","85.6x22",[6],134,{"id":91,"slug":1962,"title":1963,"dynasty":1156,"author":1651,"museum":1052,"description":1964,"tags":1965,"thumbUrl":1969,"material":1220,"size":1970,"collection":6,"collections":1971,"showCount":1972,"zanCount":1129,"manualWeight":1068,"mainColor":1069},"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。",[1055,1059,1148,1966,1110,1967,1968,1062,1093],"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",[6,1168],132,{"id":92,"slug":1974,"title":1975,"dynasty":1156,"author":1976,"museum":1631,"description":1977,"tags":1978,"thumbUrl":1979,"material":1098,"size":1064,"collection":6,"collections":1980,"showCount":1972,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"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。",[1055,1080,1161,1098,1110,1058,1451,1163,1062,1059,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[6,1168],{"id":93,"slug":1982,"title":1983,"dynasty":1050,"author":1051,"museum":1631,"description":1984,"tags":1985,"thumbUrl":1986,"material":1220,"size":1987,"collection":6,"collections":1988,"showCount":1989,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"lian-po-lin-xiang-ru-lie-zhuan-can-di-yi-duan-huang-ting-jian-221277","廉颇蔺相如列传(残)第一段","中国书法史上最长的传世经典长卷，是诞生于972年前，黄庭坚在50岁时所写的《廉颇蔺相如列传》长卷，是他的草书代表作之一，更是他传世书法中的经典名迹。\n此卷全长21.784米，即34.3 x 2178.4厘米，原迹内心为32.5 x 1822厘米，卷尾无书写纪年和史款。如有，会更加长。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”“绍兴”连珠印、 “内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[1055,1059,1148,1110,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[6],127,{"id":94,"slug":1991,"title":1810,"dynasty":1144,"author":1145,"museum":1287,"description":1992,"tags":1993,"thumbUrl":1994,"material":1995,"size":1064,"collection":6,"collections":1996,"showCount":1989,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"huang-ting-jing-wang-xi-zhi-221040","《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。",[1055,1059,1078,1093,1110,1062,1112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[6,1168],{"id":95,"slug":1998,"title":1999,"dynasty":1050,"author":1121,"museum":1075,"description":2000,"tags":2001,"thumbUrl":2003,"material":1098,"size":2004,"collection":6,"collections":2005,"showCount":1989,"zanCount":1223,"manualWeight":1068,"mainColor":1069},"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[1055,1059,1060,1078,1110,1062,2002,1093,1290],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[6],{"id":96,"slug":2007,"title":2008,"dynasty":1073,"author":1074,"museum":1075,"description":2009,"tags":2010,"thumbUrl":2016,"material":1463,"size":2017,"collection":1187,"collections":2018,"showCount":1989,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[1055,2011,1058,1110,1160,1161,1180,1451,2012,1060,2013,1059,2014,2015],"元代","鞍马","墨笔","人物画","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[1187,6],{"id":97,"slug":2020,"title":2021,"dynasty":1173,"author":2022,"museum":1052,"description":2023,"tags":2024,"thumbUrl":2029,"material":1082,"size":2030,"collection":6,"collections":2031,"showCount":2032,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","徐渭","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[1055,1057,1058,1059,1061,1580,1060,1080,2025,2026,2027,2028],"红树","松树","秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[6],126,{"id":98,"slug":2034,"title":2035,"dynasty":1073,"author":1074,"museum":1075,"description":2036,"tags":2037,"thumbUrl":2038,"material":2039,"size":2040,"collection":6,"collections":2041,"showCount":2042,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[1055,1291,1060,1110,1059,1058,1093,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[6],123,{"id":99,"slug":2044,"title":2045,"dynasty":1073,"author":1074,"museum":2046,"description":2047,"tags":2048,"thumbUrl":2051,"material":1098,"size":2052,"collection":6,"collections":2053,"showCount":2042,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[1055,1059,1060,1110,1058,1080,1062,1555,1350,1183,2049,2050,1251],"孤松","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[6],{"id":100,"slug":2055,"title":2056,"dynasty":1173,"author":2057,"museum":1631,"description":2058,"tags":2059,"thumbUrl":2064,"material":1463,"size":1064,"collection":1187,"collections":2065,"showCount":2042,"zanCount":1260,"manualWeight":1068,"mainColor":1103},"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[1055,1057,1058,1110,1160,1161,1060,1078,1062,1059,1180,1450,1425,2060,2061,2062,1208,2063],"桌椅","乐器","笔墨纸砚","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[1187,6],{"id":101,"slug":2067,"title":1389,"dynasty":1156,"author":1390,"museum":1075,"description":2068,"tags":2069,"thumbUrl":2070,"material":1098,"size":1394,"collection":6,"collections":2071,"showCount":2072,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[1055,1056,1058,1110,1060,1059,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[6],122,{"id":102,"slug":2074,"title":2075,"dynasty":1073,"author":1074,"museum":2076,"description":2077,"tags":2078,"thumbUrl":2079,"material":1098,"size":2080,"collection":6,"collections":2081,"showCount":2082,"zanCount":1129,"manualWeight":1068,"mainColor":1103},"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[1055,1058,1059,1078,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[6],120,{"id":103,"slug":2084,"title":2085,"dynasty":1300,"author":2086,"museum":2087,"description":2088,"tags":2089,"thumbUrl":2090,"material":2091,"size":2092,"collection":2093,"collections":2094,"showCount":2095,"zanCount":1068,"manualWeight":1068,"mainColor":1064},"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[1055,1057,1058,1080,1362,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米","山水画精选",[2093,6],119,{"id":104,"slug":2097,"title":1575,"dynasty":1300,"author":1576,"museum":1052,"description":2098,"tags":2099,"thumbUrl":2100,"material":1082,"size":2101,"collection":6,"collections":2102,"showCount":2095,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhuan-shu-ba-yan-lian-yang-yi-sun-214211","释文：廉于取名锐于求志。博而不俗文而又儒。",[1055,1579,1513,1059,1580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86eecb17cab4a0ff2851cbb3be428b.jpg","176.9x29.4",[6],{"id":105,"slug":2104,"title":2105,"dynasty":1073,"author":1074,"museum":1075,"description":2106,"tags":2107,"thumbUrl":2109,"material":1098,"size":2110,"collection":6,"collections":2111,"showCount":2112,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[1055,1059,2108,1148,1110,1098,1733,1093,1062],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[6],118,{"id":106,"slug":2114,"title":2115,"dynasty":1173,"author":2116,"museum":1287,"description":2117,"tags":2118,"thumbUrl":2119,"material":1165,"size":2120,"collection":6,"collections":2121,"showCount":2112,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","董其昌","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[1055,1059,1060,1291,1110,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[6],{"id":107,"slug":2123,"title":2124,"dynasty":1173,"author":2125,"museum":1052,"description":2126,"tags":2127,"thumbUrl":2128,"material":1063,"size":2129,"collection":6,"collections":2130,"showCount":2131,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[1055,1057,1058,1059,1061,1060,2013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[6],117,{"id":108,"slug":2133,"title":2134,"dynasty":1173,"author":2135,"museum":1052,"description":2136,"tags":2137,"thumbUrl":2138,"material":1082,"size":2139,"collection":6,"collections":2140,"showCount":2141,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-gu-shi-chen-bi-214214","五言古詩","陈壁","陈壁（1558-1639），字公达，号文澜、西池，明朝时期的诗人。他的五言古诗被誉为“十八岛古诗王”之一，其中许多作品堪称名篇。\n\n其中一首著名的五言古诗是《游子吟》：\n海客谈瀛洲，烟涛微茫信难求。\n孤舟蓑笠翁，独钓寒江雪。\n平生不会多情，才自遣寂寞。\n更喜岸上见，但见断桥残雪。\n\n这首诗描写了一位海客在瀛洲（古代海防城市）呆久而长，见识广阔，但却常感孤独和寂寞。诗人用游子的视角，借用独钓寒江雪的形象，抒发出对家乡的思念之情。《游子吟》的悠远抒情，流传至今，堪称陈壁五言古诗的代表作之一。",[1055,1059,1148,1080,1062,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[6],115,{"id":109,"slug":2143,"title":2144,"dynasty":1156,"author":1630,"museum":1631,"description":1632,"tags":2145,"thumbUrl":2146,"material":1635,"size":1636,"collection":6,"collections":2147,"showCount":2148,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行",[1055,1059,1078,1112,1534,1062,1414,1267,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg",[6,1168],114,{"id":110,"slug":2150,"title":2151,"dynasty":1144,"author":1145,"museum":1287,"description":2152,"tags":2153,"thumbUrl":2154,"material":1064,"size":2155,"collection":6,"collections":2156,"showCount":2157,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[1055,1059,1060,1290,1093,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[6],112,{"id":111,"slug":2159,"title":2160,"dynasty":1300,"author":2161,"museum":1052,"description":2162,"tags":2163,"thumbUrl":2164,"material":1082,"size":2165,"collection":6,"collections":2166,"showCount":2157,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"kai-shu-qi-yan-lian-ceng-guo-quan-214234","楷书七言联","曾国荃","此联楷书用笔沉雄稳健，起笔收锋间见骨力，转折处圆劲含刚，如锥画沙般扎实。结体端方规整却不拘板，字势略带欹侧之趣，于庄重中藏灵动。墨色浓淡相宜，枯润互见，与泛黄纸本相映，更显古雅醇厚。联语布局疏朗有致，上下呼应，气韵贯通，既见文人书法的书卷清气，又隐现武将出身的沉雄气概，笔墨间藏纳岁月沉淀的厚重，堪称晚清楷书佳作。",[1055,1078,1580,1059,1080,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65b7cd19665fb611b40fa719af531fd.jpg","158.8x38.4",[6],{"id":112,"slug":2168,"title":2169,"dynasty":1173,"author":2170,"museum":1075,"description":2171,"tags":2172,"thumbUrl":2178,"material":1098,"size":2179,"collection":6,"collections":2180,"showCount":2181,"zanCount":1191,"manualWeight":1068,"mainColor":1103},"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","沈度","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[1055,1059,1078,2173,2174,2175,2176,2177,1098,1733],"明代","台阁体","工整","严谨","秀丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米",[6],111,{"id":113,"slug":2183,"title":2184,"dynasty":1050,"author":2185,"museum":1564,"description":2186,"tags":2187,"thumbUrl":2188,"material":1278,"size":2189,"collection":6,"collections":2190,"showCount":2191,"zanCount":1385,"manualWeight":1068,"mainColor":1777},"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[1055,1059,1110,1060,1111,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[6],110,{"id":114,"slug":2193,"title":2194,"dynasty":1173,"author":2116,"museum":1075,"description":2195,"tags":2196,"thumbUrl":2199,"material":1082,"size":2200,"collection":2093,"collections":2201,"showCount":2191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[1055,1057,1058,1110,1080,1291,1060,1059,1177,1062,1178,2197,1450,2198,1449],"山峦","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[2093,1189,6],{"id":115,"slug":2203,"title":2204,"dynasty":1156,"author":2205,"museum":1052,"description":2206,"tags":2207,"thumbUrl":2208,"material":1220,"size":2209,"collection":6,"collections":2210,"showCount":2211,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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。”",[1055,1056,1057,1058,1110,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[6,1168],108,{"id":116,"slug":2213,"title":2214,"dynasty":1050,"author":2215,"museum":1075,"description":2216,"tags":2217,"thumbUrl":2218,"material":1098,"size":2219,"collection":6,"collections":2220,"showCount":2211,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[1055,1110,1059,1078,1109,1062,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[6],{"id":117,"slug":2222,"title":2223,"dynasty":1050,"author":1133,"museum":1052,"description":2224,"tags":2225,"thumbUrl":2226,"material":1080,"size":2227,"collection":6,"collections":2228,"showCount":2211,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"huo-jian-tie-su-shi-214829","获见帖","释文：轼启。近者经由。获见为幸。过辱遣人赐书。得闻起居佳胜。感慰兼极。忝命出于馀芘。重承流喻。益深愧慰畏。再会未缘。万万以时自重。人还。冗中。不宣。轼再拜 。长官董侯阁下。六月廿八日。",[1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee27e03cf357dc2c448c081d7e6f4d.jpg","纵27.7厘米×横38.4厘米",[6],{"id":118,"slug":2230,"title":2231,"dynasty":1173,"author":2232,"museum":1287,"description":2233,"tags":2234,"thumbUrl":2239,"material":1064,"size":1064,"collection":1309,"collections":2240,"showCount":2242,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[1057,1058,1061,1160,2235,2236,2237,2238],"花鸟","梅","茶花","鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[1309,2241,6],"设色画精选",107,{"id":119,"slug":2244,"title":2245,"dynasty":1300,"author":1953,"museum":2246,"description":2247,"tags":2248,"thumbUrl":2249,"material":1064,"size":1064,"collection":6,"collections":2250,"showCount":2251,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"shao-xue-qin-shu-ce-deng-shi-ru-222799","少学琴书册","上海韩天衡氏私人收藏","体势值由雅驯而趋开张，笔意由温润而趋劲豪，气格宏阔而无纵横习气。是一件由厚积走向勃发之际的别致的佳作，多堪玩味。",[1055,1059,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08846c0fd86ec02d5cc43166ed0282fa.jpg",[6],106,{"id":120,"slug":2253,"title":2254,"dynasty":2255,"author":2256,"museum":1052,"description":2257,"tags":2258,"thumbUrl":2259,"material":1635,"size":2260,"collection":6,"collections":2261,"showCount":2262,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jiu-hua-tie-yang-ning-shi-221142","韭花帖","五代十国","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[1055,1059,1060,1062,1093,1058,1110,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","高26厘米，宽28厘米",[6],105,{"id":121,"slug":2264,"title":2265,"dynasty":1156,"author":1500,"museum":1052,"description":2266,"tags":2267,"thumbUrl":2268,"material":1220,"size":2269,"collection":6,"collections":2270,"showCount":2271,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[1055,1059,1078,1110,1062,1058,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[6],104,{"id":122,"slug":2273,"title":2274,"dynasty":1144,"author":1489,"museum":1075,"description":2275,"tags":2276,"thumbUrl":2277,"material":2278,"size":2279,"collection":6,"collections":2280,"showCount":2271,"zanCount":1385,"manualWeight":1068,"mainColor":1777},"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[1058,1057,1060,1059,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[6],{"id":123,"slug":2282,"title":2124,"dynasty":1173,"author":1422,"museum":1052,"description":2283,"tags":2284,"thumbUrl":2285,"material":1082,"size":2286,"collection":6,"collections":2287,"showCount":2271,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lv-shi-wen-zheng-ming-214255","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[1055,1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[6],{"id":124,"slug":2289,"title":2290,"dynasty":1173,"author":2116,"museum":1631,"description":2291,"tags":2292,"thumbUrl":2293,"material":1098,"size":2294,"collection":2093,"collections":2295,"showCount":2296,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[1056,1057,1058,1110,1080,1178,1177,1182,1450,2198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg","25.9 x 219.1厘米",[2093,6],103,{"id":125,"slug":2298,"title":2299,"dynasty":1050,"author":1090,"museum":1122,"description":2300,"tags":2301,"thumbUrl":2303,"material":1098,"size":2304,"collection":6,"collections":2305,"showCount":2306,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qian-zi-wen-zhao-ji-221346","千字文","宋徽宗是一位极不称职的皇帝，然而却是一位风流的才子。他才世杰出，于琴棋书画皆精，尤其在书法与绘画方面，颇有成就。他自创的[瘦金书]与兼工带写的画作至今为人所推崇。他的书法早年学习唐初四家之一的薛稷，明《书史会要》说徽宗[行昔日、正书笔势劲逸，初学薛稷，变其法度，自号瘦金书。要是意度天成，非可以陈迹求也]。薛稷书法，用笔纤细，结体疏瘦。虽[瘦金书]生发于唐人薛稷已成为共识，但徽宗在此基础上，聪　慧创意成为定型的瘦金体。此书体被后世誉为第一奇书，长横例作鱼头状，中截细若游丝，收笔重顿，竖笔很少作悬针，大多呈一右向倒钩，横与竖过渡折笔侧锋明显，运笔步骤展露无遗，的确不同于任何书体。徽宗还能狂草，笔意纯学怀素，并临怀素《千字文》洋洋洒洒。本法书长达十一米，用的是珍贵的描金云龙签，平添了富丽堂皇的皇家气象。他随意书写的[掠水燕翎寒自转，随泥花片湿相重]团扇，令后世书家赞叹不已。",[1059,1148,1110,1098,1062,2302],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[6],102,{"id":126,"slug":2308,"title":2309,"dynasty":1173,"author":2116,"museum":1531,"description":2310,"tags":2311,"thumbUrl":2312,"material":1098,"size":2313,"collection":6,"collections":2314,"showCount":2306,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[1055,1059,1148,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[6],{"id":127,"slug":2316,"title":2317,"dynasty":1050,"author":2318,"museum":1052,"description":2319,"tags":2320,"thumbUrl":2321,"material":1082,"size":2322,"collection":2323,"collections":2324,"showCount":2306,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[1055,1057,1058,1110,1080,1177,1059,1062,1178,1251,1767,1825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米","宋画精选",[2323,6],{"id":128,"slug":2326,"title":2327,"dynasty":1050,"author":2185,"museum":1052,"description":2328,"tags":2329,"thumbUrl":2330,"material":2331,"size":2332,"collection":6,"collections":2333,"showCount":2334,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shang-wen-tai-hong-zun-juan-chi-du-lu-you-221192","上问台闳尊眷尺牍","释文：游皇恐百拜。上问台闳尊眷。恭惟均纳殊祉。知监学士。幸数承教。此尝纳职状以见区区。而知监諭以职状。已溢员。势须小缓。别换文字。伏乞台照。游蒙宠寄天花果药等。仰戴恩念。何有穷已。新茶三十胯。子鱼五十尾。驰献尘渎。死罪死罪。建安有委。以命為宠。游皇恐百拜上覆。",[1050,1059,1060,1919,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a5725a7dfe9d2e0c4ef1c664f822f5.jpg","纸本行书","29.3×31.6cm",[6],101,{"id":129,"slug":2336,"title":2337,"dynasty":1156,"author":1926,"museum":1287,"description":2338,"tags":2339,"thumbUrl":2340,"material":1493,"size":2341,"collection":6,"collections":2342,"showCount":2334,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"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」。",[1055,1148,1059,1058,1110,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","27*541",[6,1168],{"id":130,"slug":2344,"title":2345,"dynasty":1050,"author":1051,"museum":1052,"description":2346,"tags":2347,"thumbUrl":2355,"material":1098,"size":2356,"collection":6,"collections":2357,"showCount":2334,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"tian-min-zhi-ming-tie-huang-ting-jian-220007","天民知命帖","释文：天民、知命、大主簿：霜寒，想八嫂安裕、九嬭、四嬭、大新婦、普姐、師哥、四娘、五娘、六郎、四十、明兒、九娘、十娘、張九（咩兒）、韓十、小韓、曾兒、湖兒、井兒，各安樂。過江來，甚思汝等，寂寞且耐煩，不須憂路上，路上甚安穩。但所經州郡多故舊，須爲酒食留連爾。家中上下，凡事切且和順。三人輪管家事，勿廢規矩。三學生不要令推病在家，依時節送飯及取歸。書院常整齪、文字勿借出也。知命且掉下潑藥草，讀書看經，求清靜之樂爲上，大主簿讀《漢書》必有功矣。十月十四日，立報。諸嬭子以下，各小心照管孩兒們，莫作炒，切切。",[1055,1059,1060,2348,2349,2350,2351,1737,1062,2352,2353,2354],"中锋用笔","提按顿挫","线条劲挺","结体欹侧","宋式书法","笔势开张","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88da02170486a80d837c4b07794cfb1.jpg","纵：25.5厘米 横：45.9厘米",[6],{"id":131,"slug":2359,"title":2360,"dynasty":1156,"author":2361,"museum":2362,"description":2363,"tags":2364,"thumbUrl":2367,"material":1098,"size":2368,"collection":6,"collections":2369,"showCount":2370,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"tai-xuan-zhen-yi-ben-ji-jing-yi-ming-219130","太玄真一本际经","佚名","中国国家博物馆","唐《太玄真一本际经》为道家重玄论的重要著作之。流行于隋唐之际，共十卷，此为第二卷付嘱品和第五卷证实品部分内容。卷包首有罗振玉题签“唐太玄真一本际经卷二及第五残卷，有后题”。经卷分为两段，前段起于“太玄真一本际经付嘱品卷第二、元始天尊……”，至“而起执滞”为卷二内容，共一百九十三行。后段始于“罪未除何能解他之罪”至“应如万人之声同称曰善”，后题“太玄真一本际经卷第五、冲虚观主宋妙仙入京写一切经、未还身故、今为写此经”，共三十一行。",[1112,1059,1078,2365,2366],"古籍","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d41018226cac6610e9819012a0a9cb4.jpg","纵二十五点六厘米，横三百九十二厘米",[6],100,{"id":132,"slug":2372,"title":2373,"dynasty":1300,"author":2374,"museum":1052,"description":2375,"tags":2376,"thumbUrl":2377,"material":1082,"size":2378,"collection":6,"collections":2379,"showCount":2370,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"kai-shu-ba-yan-lian-zhao-zhi-qian-214236","楷书八言联","赵之谦","此联笔墨沉雄朴厚，尽显赵之谦碑学精髓。篆隶笔意融入楷法，起收顿挫如刀刻金石，线条丰腴却骨力内蕴。字形宽博开张，欹正相生间见灵动，打破唐楷板滞。墨色浓淡有致，枯润相济，古雅之气扑面而来。上联绘风气摇月影之灵动，下联寓德泽感清泉之仁厚，文辞清雅与书法雄浑相得益彰。整体气象庄严又不失生机，是赵氏碑帖融合的典范，观之如临古碑，又觉文韵流转，耐人寻味。",[1055,1078,1580,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694ca2c3df8fb3e2838b6013c0e75bf0.jpg","145.3x38.6",[6],{"id":133,"slug":2381,"title":2382,"dynasty":1173,"author":1601,"museum":1287,"description":2383,"tags":2384,"thumbUrl":2385,"material":1098,"size":1064,"collection":1187,"collections":2386,"showCount":2387,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"bai-miao-jiu-ge-tu-ce-zhu-yun-ming-218062","白描九歌图册","墨线似含灵韵，于素纸上铺展生动场景。左侧士人躬身敛袖，衣褶如层云叠转，恭谨之态毕现；中间者衣袂轻飏，身姿若风中修竹，似携楚辞清逸；右侧稚童垂手而立，眉眼间藏着几分专注。笔触或挺劲或柔婉，以线条的疏密转折，勾勒人物风骨与互动温情。无需色彩渲染，仅以纯粹笔墨，便将《九歌》悠远意境凝于方寸。每道墨痕都似在低语，诉说古典人文的雅致深邃，让观者于静默中，触摸跨越时空的诗意与感动。",[1057,1058,1079,1448,1180,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc744b9ad422a80548da0114b8c02acfe.jpg",[1187,6],99,{"id":134,"slug":2389,"title":2390,"dynasty":1050,"author":1051,"museum":1075,"description":2391,"tags":2392,"thumbUrl":2393,"material":2394,"size":2395,"collection":6,"collections":2396,"showCount":2397,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhu-shang-zuo-tie-juan-di-yi-duan-huang-ting-jian-221281","诸上座帖卷第一段","《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。\n《诸上座帖》释文：\n“諸上座爲複只要弄唇嘴，爲復別有所圖，恐伊執著，且執著甚麽，爲復執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧云，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。\n此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）\n署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。\n卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”及明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等诸家鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，民国初流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。\n此书师法怀素狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。\n明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。",[1055,1059,1148,1060,1110,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[6],98,{"id":135,"slug":2399,"title":2400,"dynasty":1073,"author":1074,"museum":1052,"description":2401,"tags":2402,"thumbUrl":2409,"material":1220,"size":2410,"collection":6,"collections":2411,"showCount":2397,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shu-lun-yu-shi-nan-pei-xing-jian-shu-fa-zhao-meng-fu-220830","书论虞世南裴行俭书法","赵孟頫《论裴行俭书法》行书，来源于赵孟頫与鲜于枢墨迹合册之二\u002F论裴行俭帖。\n唐高宗曾经赐裴行俭白绢，命他书写《昭明文选》。高宗观赏之后，喜爱其用笔的法度，赏赐颇为丰厚。史载裴行俭曾说：“如果不是精美的笔和墨，褚遂良还不曾经常写。不选择笔、墨的好坏而能写得机灵敏捷的，只有我和虞世南而已。”他撰写《选谱》、《草字杂体》等书，有好几万字。\n释文：裴行俭工草隶，名家。帝尝以绢素诏写《文选》，览之，秘爱其法，赉物良厚。行俭每曰：“褚遂良非精笔佳墨，未尝辄书，不择笔墨而妍捷者，余与虞世南耳。”所譔《选谱》、《草字杂体》数万言。又为营阵、部伍、料胜负、别器能等四十六诀，武后使武承嗣就第取去，不复传。\n裴行俭，是大唐军神苏烈的徒弟，“儒将之雄”是对他最好的评价。裴行俭，字守约，绛州闻喜人。唐朝名将、政治家、书法家，隋朝礼部尚书裴仁基次子。裴行俭精通阴阳历法，善于鉴别人才。他工于书法，尤擅草、隶。有文集二十卷，并著有《草字杂体》、《选谱》及兵法秘诀四十六条。 裴行俭不仅是政治家，还是书法家，赵孟頫此帖，记录的便是裴行俭书法。",[1059,1060,1098,1062,2403,2404,2405,2406,2407,2408],"圆转流畅","结构严谨","笔法娴熟","复古风格","笔墨细腻","结体端庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbc471608779f041aedd9ec4c182bdb.jpg","38.4x60.6cm",[6],{"id":136,"slug":2413,"title":2414,"dynasty":1173,"author":1422,"museum":2415,"description":2416,"tags":2417,"thumbUrl":2419,"material":1082,"size":1064,"collection":6,"collections":2420,"showCount":2397,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","天津博物馆","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[1055,1057,1058,1110,1078,1059,1080,1177,1178,1450,1449,2418,2197,1062],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[6,1189],{"id":137,"slug":2422,"title":2423,"dynasty":1050,"author":1051,"museum":1052,"description":2424,"tags":2425,"thumbUrl":2426,"material":1220,"size":2427,"collection":6,"collections":2428,"showCount":2429,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[1055,1059,1060,1110,1093,1062,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[6],97,{"id":138,"slug":2431,"title":2432,"dynasty":1144,"author":1145,"museum":1287,"description":2433,"tags":2434,"thumbUrl":2435,"material":1064,"size":1064,"collection":6,"collections":2436,"showCount":2429,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"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。",[1055,1059,1148,1110,1291,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[6,1168],{"id":139,"slug":2438,"title":2439,"dynasty":1073,"author":1074,"museum":1052,"description":2440,"tags":2441,"thumbUrl":2444,"material":1063,"size":2445,"collection":6,"collections":2446,"showCount":2429,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[1056,1057,1058,1059,1061,1060,1080,1178,1351,2442,2443,1183],"老树","孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[6],{"id":140,"slug":2448,"title":2449,"dynasty":1173,"author":1422,"museum":1052,"description":2450,"tags":2451,"thumbUrl":2452,"material":1082,"size":2453,"collection":6,"collections":2454,"showCount":2455,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[1055,2173,1059,1060,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","347.1x97.8",[6],96,{"id":141,"slug":2457,"title":2299,"dynasty":1156,"author":1286,"museum":1564,"description":2458,"tags":2459,"thumbUrl":2460,"material":1098,"size":1064,"collection":6,"collections":2461,"showCount":2462,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"qian-zi-wen-ou-yang-xun-221106","千字文作为中国古代的启蒙学课本，以一千字编为四言章韵语，叙述有关自然、社会历史、教育等方面的知识，隋代即开始流行。\n此千字文传欧阳询书，故宫博物院藏,见于《戏鸿堂帖》，内容完整，后有刻跋两段：“右率更令所书千文字扬补之家藏本，咸淳甲戍岁九月三日钱金应桂”。“书家以分行布白谓之九宫，元人作书经云：黄庭有六分九宫、曹娥有四分九宫是也。今观信本千文真有完字具于胸中。若构凌云台，一皆衡剂而成者。米南宫评其真书到内史、信矣，此本为扬补之家藏，勒其全文，欲学书者先定间架，然后纵横跌宕唯变所适也。其昌”。",[1055,1078,1059,1093,1110,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e30ddce65a81934ed675107a76227.jpg",[6],95,{"id":142,"slug":2464,"title":2465,"dynasty":1050,"author":1051,"museum":1052,"description":2466,"tags":2467,"thumbUrl":2468,"material":1098,"size":2469,"collection":6,"collections":2470,"showCount":2462,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[1055,1058,1059,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[6],{"id":143,"slug":2472,"title":2473,"dynasty":1173,"author":2474,"museum":1075,"description":2475,"tags":2476,"thumbUrl":2477,"material":1098,"size":2478,"collection":6,"collections":2479,"showCount":2462,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"kai-shu-ju-song-tie-ye-shen-zao-219154","楷书·橘颂帖页","沈藻","《橘颂》是屈原的传世名篇。沈藻此作点划纤细平正，风格婉美端秀，为典型的“台阁体”。",[1055,1058,1078,1059,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c41915b9fd989ff97a6a41eaed8537.jpg","纵27.6厘米，横47.6厘米",[6],{"id":144,"slug":2481,"title":2482,"dynasty":1050,"author":1051,"museum":2483,"description":2484,"tags":2485,"thumbUrl":2486,"material":1098,"size":2487,"collection":6,"collections":2488,"showCount":2489,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[1055,1056,1057,1058,1110,1060,1059,1080,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[6],94,{"id":145,"slug":2491,"title":2492,"dynasty":1073,"author":2493,"museum":1631,"description":2494,"tags":2495,"thumbUrl":2496,"material":1463,"size":2497,"collection":1187,"collections":2498,"showCount":2489,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","钱选","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[1055,1056,1057,1058,1110,1160,1161,1060,1062,1178,1180,1555,1450,1183,1305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[1187,2241,6],{"id":146,"slug":2500,"title":2501,"dynasty":1173,"author":2170,"museum":1052,"description":2502,"tags":2503,"thumbUrl":2504,"material":1082,"size":2505,"collection":6,"collections":2506,"showC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（巽）册","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。",[1055,1059,1290,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[6,1168],91,{"id":153,"slug":2565,"title":2566,"dynasty":1300,"author":1510,"museum":1287,"description":2567,"tags":2568,"thumbUrl":2570,"material":1064,"size":1064,"collection":1309,"collections":2571,"showCount":2572,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"mo-he-zhou-wu-chang-shuo-236709","墨荷轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[1057,1058,1061,1080,1567,1095,2569,1059,1060,1062],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[1309,6],90,{"id":154,"slug":2574,"title":2575,"dynasty":1173,"author":2576,"museum":1052,"description":2577,"tags":2578,"thumbUrl":2579,"material":1082,"size":2580,"collection":6,"collections":2581,"showCount":2572,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","朱瞻基","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[1055,1173,1058,1059,1060,1160,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[6],{"id":155,"slug":2583,"title":2584,"dynasty":1050,"author":1324,"museum":1052,"description":2585,"tags":2586,"thumbUrl":2587,"material":1098,"size":1064,"collection":6,"collections":2588,"showCount":2589,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"song-yuan-bao-han-ce-song-gao-zong-shu-qi-yan-lv-shi-zhao-gou-219684","宋元宝翰册-宋高宗书七言律诗","宋高宗赵构（1107年6月13日－1187年11月9日），字德基，宋朝第十位皇帝，南宋开国皇帝（1127年－1162年在位），宋徽宗赵佶第九子、宋钦宗赵桓之弟，母为显仁皇后韦氏。",[1056,1057,1058,1079,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d74f162461ca59c26ac6b7a02fc1103.jpg",[6],89,{"id":156,"slug":2591,"title":2592,"dynasty":1173,"author":2593,"museum":1052,"description":2594,"tags":2595,"thumbUrl":2596,"material":1082,"size":2597,"collection":6,"collections":2598,"showCount":2589,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cao-shu-zhou-mo-shi-long-214209","草书轴","莫是龙","释文：挥手寒原日欲西。霜禽向客有情啼。空山摇落无相赠。独与春风送马头。云卿书。",[1055,1057,1058,1061,1148,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2076e1c76e1c425049da7a553c9a512f.jpg","133.5x53.7",[6],{"id":157,"slug":2600,"title":2601,"dynasty":1156,"author":1264,"museum":1719,"description":2602,"tags":2603,"thumbUrl":2604,"material":2605,"size":2606,"collection":6,"collections":2607,"showCount":2608,"zanCount":1385,"manualWeight":1068,"mainColor":1386},"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”。",[1055,1110,1059,1290,1093,1078,1060,1148,1956],"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",[6,1168],88,{"id":158,"slug":2610,"title":2611,"dynasty":1173,"author":1422,"museum":1075,"description":2612,"tags":2613,"thumbUrl":2616,"material":2617,"size":2618,"collection":2093,"collections":2619,"showCount":2608,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[1055,1057,1058,1110,1178,1425,1450,1182,1160,2614,2615,1907],"文人画","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纸本,设色","纵23.8cm，横78.3cm",[2093,6],{"id":159,"slug":2621,"title":2622,"dynasty":1073,"author":1074,"museum":1075,"description":2623,"tags":2624,"thumbUrl":2625,"material":1078,"size":2626,"collection":6,"collections":2627,"showCount":2628,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[1055,1058,1059,1110,1078,1534,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 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是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[1055,1059,1078,1414,2667,1248,1111],"抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg","未知",[6],85,{"id":165,"slug":2673,"title":2299,"dynasty":1073,"author":1074,"museum":1075,"description":2674,"tags":2675,"thumbUrl":2676,"material":1165,"size":2677,"collection":6,"collections":2678,"showCount":2671,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[1055,1058,1059,1060,1078,1110,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[6],{"id":166,"slug":2680,"title":2681,"dynasty":1073,"author":1074,"museum":1754,"description":2682,"tags":2683,"thumbUrl":2684,"material":1098,"size":2685,"collection":6,"collections":2686,"showCount":2687,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[1055,1056,1057,1058,1110,1534,1060,1059,1112,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[6],84,{"id":167,"slug":2689,"title":2690,"dynasty":1156,"author":1264,"museum":1075,"description":2691,"tags":2692,"thumbUrl":2693,"material":1278,"size":2694,"collection":6,"collections":2695,"showCount":2696,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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。",[1055,1292,1059,1060,1110,1062,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纵27.6厘米，横50.2厘米",[6,1168],83,{"id":168,"slug":2698,"title":2699,"dynasty":1144,"author":1880,"museum":1719,"description":2700,"tags":2701,"thumbUrl":2702,"material":1078,"size":1064,"collection":6,"collections":2703,"showCount":2696,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"jian-ji-zhi-biao-zhong-yao-221016","荐季直表","此帖或为唐人根据原本所摹，或为伪托，但应属“伪好物”。由于它具有钟书的基本特征和很高的艺术价值，故得到书界的重视和高度评价。如陆行直说：“繇《荐季直表》高古纯朴，超妙入神，无晋唐插花美女之态。”王世贞认为，在此帖显世之后，“天下之学钟者，不再知有《淳化阁》”（指《淳化阁》所载钟繇诸刻帖）。此帖笔画、结字都极其自然，章法错落。梁武帝等所说“云鹤游天”，“群鸿戏海”以及“行间茂密”等于此帖表现最为鲜明。钟繇所创造的“钟体”，同王羲之的“王体”是我国书法史上两个历久不衰的艺术典型，影响极其深远。",[1059,1078,1062,1290,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b01459c23dcc3a188f5b9cf3507377.jpg",[6],{"id":169,"slug":2705,"title":2706,"dynasty":1300,"author":2707,"museum":1287,"description":2708,"tags":2709,"thumbUrl":2710,"material":1098,"size":1064,"collection":6,"collections":2711,"showCount":2696,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"yu-bi-qi-yan-shi-qian-long-220449","御笔七言诗","乾隆","乾隆皇帝酷爱书法，日理万机之余潜心临池，遍习诸家，钟情二王。乾隆书法赵孟俯，心慕手追，身体力行。在以赵体为根本的基础上，又参悟二王弋颜真卿、宋四家等人风格，融会贯通，逐渐形成了自己圆润道丽、温妍儒雅的书法风格。",[1061,1060,1059,1062,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267402bb05345ad1bcbb01b4b580667a.jpg",[6],{"id":170,"slug":2713,"title":2714,"dynasty":1173,"author":1422,"museum":1075,"description":2715,"tags":2716,"thumbUrl":2717,"material":1098,"size":2718,"collection":6,"collections":2719,"showCount":2696,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[1055,1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[6],{"id":171,"slug":2721,"title":2722,"dynasty":1050,"author":2723,"museum":1075,"description":2724,"tags":2725,"thumbUrl":2726,"material":1493,"size":2727,"collection":6,"collections":2728,"showCount":2729,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[1055,1058,1110,1060,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[6],82,{"id":172,"slug":2731,"title":2732,"dynasty":1144,"author":1145,"museum":1052,"description":2733,"tags":2734,"thumbUrl":2735,"material":1664,"size":2736,"collection":6,"collections":2737,"showCount":2729,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"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",[1059,1060,1093,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纵24.8厘米，横21.3厘米",[6,1168],{"id":173,"slug":2739,"title":2740,"dynasty":1173,"author":2022,"museum":1075,"description":2741,"tags":2742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cm",[6],{"id":175,"slug":2756,"title":2757,"dynasty":1144,"author":1145,"museum":1052,"description":2758,"tags":2759,"thumbUrl":2760,"material":1064,"size":2761,"collection":6,"collections":2762,"showCount":2745,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"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。",[1055,1058,1059,1060,1110,1062,1093,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[6,1168],{"id":176,"slug":2764,"title":2765,"dynasty":1173,"author":1422,"museum":1052,"description":2766,"tags":2767,"thumbUrl":2774,"material":1082,"size":2775,"collection":6,"collections":2776,"showCount":2745,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[1055,1058,1059,1061,1060,1080,1062,2768,1767,2769,2770,2771,2772,2773],"雪","树","野水","茅屋","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[6],{"id":177,"slug":2778,"title":2779,"dynasty":1300,"author":2780,"museum":1075,"description":2781,"tags":2782,"thumbUrl":2783,"material":1278,"size":2784,"collection":6,"collections":2785,"showCount":2786,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhu-da-lan-ting-xu-zhou-zhu-da-240331","朱耷兰亭序轴","朱耷","此轴为朱耷节录《兰亭序》，内容有些微差异，如“暮春”后省略“之初”二字，“此地有”写为“此地迺”等。\n款署：“八大山人”，款下钤“在芙山房”、“八大山人”白方印两方。引首钤“黄竹园”白方。\n本幅左下角钤张大千鉴藏印“藏之大千”白方。外签为张大千题：“八大山人临兰亭。大风堂永远供养。”下钤“大千”朱方等二印。知此轴曾为张大千旧藏。左裱边有题跋三则，第一跋后钤“夔文书画金石”朱方。\n八大山人为清代著名书画家朱耷的别号。朱耷中晚年，在书画作品款署中多使用“八大山人”，直至去世。这幅行书立轴不是单纯的对《兰亭序》临写和模仿，而加入了作者的创作。它继承了八大山人“淳朴圆润，自成一格”之风，正如跋语所评，其“圆健古厚，专用中锋，如印印泥，如锥画沙，布白分行，具有天趣”，堪称其率性之作。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d801377852347170dfbb129c60a62a.jpg","纵174.5厘米，横52.1厘米",[6],80,{"id":178,"slug":2788,"title":2789,"dynasty":1050,"author":2790,"museum":1075,"description":2791,"tags":2792,"thumbUrl":2793,"material":1098,"size":2794,"collection":6,"collections":2795,"showCount":2796,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[1055,1058,1059,1060,1111,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[6],79,{"id":179,"slug":2798,"title":2799,"dynasty":1156,"author":1521,"museum":1075,"description":1522,"tags":2800,"thumbUrl":2801,"material":1098,"size":2802,"collection":6,"collections":2803,"showCount":2796,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[1055,1056,1057,1058,1110,1291,1060,1062,1059,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[6,1168],{"id":180,"slug":2805,"title":2806,"dynasty":1300,"author":2807,"museum":1287,"description":2808,"tags":2809,"thumbUrl":2814,"material":2669,"size":2815,"collection":1309,"collections":2816,"showCount":2817,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"hua-hui-tu-ce-jiang-ting-xi-238472","花卉图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[1057,1058,1079,1160,1161,2235,2810,2811,2063,2812,2813,1059,1062],"花卉","蝴蝶","叶子","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg","Xcm*Xcm",[1309,2241,6],78,{"id":181,"slug":2819,"title":2820,"dynasty":1300,"author":2821,"museum":1287,"description":2822,"tags":2823,"thumbUrl":2825,"material":1064,"size":1064,"collection":6,"collections":2826,"showCount":2817,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-gao-tang-hua-si-shou-zhou-dong-gao-238322","董诰唐花四首轴","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[1057,1058,1056,1061,1160,1161,2235,1700,2824,2236,1452],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caff1096bf7a8b9b6a2535c27b18a0c.jpg",[6],{"id":182,"slug":2828,"title":2829,"dynasty":1073,"author":2830,"museum":1075,"description":2831,"tags":2832,"thumbUrl":2833,"material":1098,"size":2834,"collection":6,"collections":2835,"showCount":2817,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-zhen-cao-shu-xin-jing-juan-wu-zhen-220784","吴镇草书心经卷","吴镇","吴镇书法多见于题画，《心经卷》是其传世的唯一草书作品，此卷书于元至元六年（1340年），为吴镇61岁时手录《心经》全文（内有误书多处），笔势遒逸，风味古澹，堪称炉火纯青。\n释文：观自在菩萨，行深般若波罗蜜多时。照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼界耳鼻舌身意，无色声香味触法，无眼界，无无明，亦无无明尽。乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵。依般若波罗蜜多故，心无罣碍。无罣碍故，无有恐怖。远离颠倒梦想，究竟涅盘。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故得般若波罗蜜多，是大神呪，是大明呪，是无等等呪。能除一切苦，真实不虚。故说般若波罗蜜多呪。即说呪曰：揭谛，揭谛，波罗僧揭谛，波罗揭谛，菩提萨婆诃。",[1055,1059,1148,1112,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79733ea91dcfd3a8e7e0329846ff3007.jpg","29.3×203厘米",[6],{"id":183,"slug":2837,"title":2838,"dynasty":1050,"author":2839,"museum":1052,"description":2840,"tags":2841,"thumbUrl":2843,"material":1082,"size":2844,"collection":6,"collections":2845,"showCount":2846,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[1057,1058,1061,1080,1180,1162,1059,1060,1062,2842],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[6],76,{"id":184,"slug":2848,"title":2849,"dynasty":1073,"author":1074,"museum":1075,"description":2850,"tags":2851,"thumbUrl":2852,"material":1098,"size":2853,"collection":6,"collections":2854,"showCount":2846,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[1055,1060,1059,1058,1079,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[6],{"id":185,"slug":2856,"title":2857,"dynasty":1073,"author":1074,"museum":1122,"description":2047,"tags":2858,"thumbUrl":2862,"material":1098,"size":2863,"collection":6,"collections":2864,"showCount":2846,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[1055,1058,1059,1110,1060,2049,2859,1592,2050,1251,2860,1767,2861],"舟","鸟","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[6],{"id":186,"slug":2866,"title":2867,"dynasty":1073,"author":1074,"museum":1122,"description":2868,"tags":2869,"thumbUrl":2871,"material":1098,"size":2872,"collection":6,"collections":2873,"showCount":2846,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[1055,1057,1058,1059,1110,1060,1534,2870,1062],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[6],{"id":187,"slug":2875,"title":2876,"dynasty":1173,"author":2361,"museum":1564,"description":2877,"tags":2878,"thumbUrl":2883,"material":1463,"size":2884,"collection":1187,"collections":2885,"showCount":2846,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[1055,1057,1110,1160,2014,1161,2879,2026,2880,2062,1059,2881,2882],"文人雅集","案几","士大夫","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[1187,2241,6],{"id":188,"slug":2887,"title":2888,"dynasty":1300,"author":2889,"museum":1052,"description":2890,"tags":2891,"thumbUrl":2892,"material":1082,"size":2893,"collection":6,"collections":2894,"showCount":2846,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-su-shi-shu-du-fu-shi-wang-you-dun-214655","临苏轼书杜甫诗","汪由敦","苏轼原迹「书杜甫桤木诗」卷",[1059,1291,1060,1080,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[6],{"id":189,"slug":2896,"title":2897,"dynasty":1173,"author":2898,"museum":1075,"description":2899,"tags":2900,"thumbUrl":2901,"material":1082,"size":2902,"collection":6,"collections":2903,"showCount":2904,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cao-shu-die-lian-hua-ci-zhang-bi-219150","草书·蝶恋花词","张弼","此轴是张弼书录宋王诜《蝶恋花词》一首，词序上有倒句。原词为：“钟送夕阳鸡打鸣。昏晓相催，世事何时了。万恨千愁人自老，春来仍然生芳草。忙处人多闲处少。闲处光阴，几个人知道。独上高楼云渺渺，天涯一点青山小。”（编者注）\n张弼的行草书师法张旭、怀素，雄奇劲健，纵逸多姿。此轴为作者晚年书，用笔迅疾飞动，错落有致，提按起收富于变化。通篇犹如暴风骤雨，风驰电掣。王鏊评其书：“疾如风雨，矫如龙蛇，欹如坠石，瘦如枯藤，怪伟跌宕。”",[1055,1059,1148,1061,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba759976bd3332a262a2c7e984cb7da.jpg","纵148厘米，横59.4厘米",[6],75,{"id":190,"slug":2906,"title":2907,"dynasty":1156,"author":1157,"museum":1075,"description":2908,"tags":2909,"thumbUrl":2912,"material":1063,"size":1064,"collection":1309,"collections":2913,"showCount":2904,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[1055,1057,1110,1160,1161,1059,1060,1062,1162,1180,2910,1450,2911],"牧童","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[1309,6],{"id":191,"slug":2915,"title":2916,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":2919,"thumbUrl":2920,"material":1098,"size":1064,"collection":6,"collections":2921,"showCount":2922,"zanCount":1385,"manualWeight":1068,"mainColor":2923},"xin-jing-hong-yi-fa-shi-223267","心经","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。",[1055,1059,1112,1534,1078,1062,1058,1110,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[6],74,"FFFFFF",{"id":192,"slug":2925,"title":2926,"dynasty":1050,"author":1051,"museum":1287,"description":2927,"tags":2928,"thumbUrl":2938,"material":2939,"size":2940,"collection":6,"collections":2941,"showCount":2922,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[1055,1058,1059,1110,1060,2929,2930,2931,2768,2932,2933,1794,1425,2934,1825,2935,2936,2937],"梨花","蜂","庭院","月","春","燕","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[6],{"id":193,"slug":2943,"title":2944,"dynasty":1156,"author":1264,"museum":1719,"description":2945,"tags":2946,"thumbUrl":2947,"material":1111,"size":2948,"collection":6,"collections":2949,"showCount":2922,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"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。",[1055,1059,1078,1110,1290,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[6,1168],{"id":194,"slug":2951,"title":2952,"dynasty":1156,"author":2953,"museum":1122,"description":2954,"tags":2955,"thumbUrl":2956,"material":1098,"size":2957,"collection":6,"collections":2958,"showCount":2922,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qian-zi-wen-can-juan-gao-xian-221051","千字文残卷","高闲","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。",[1059,1148,1110,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727bc937e04080676c39b9d3ae256047.jpg","纵30.8cm，横331.3cm，为残本",[6,1168],{"id":195,"slug":2960,"title":2961,"dynasty":1073,"author":1074,"museum":1052,"description":2962,"tags":2963,"thumbUrl":2964,"material":1165,"size":2965,"collection":6,"collections":2966,"showCount":2922,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[1058,1059,1112,1060,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[6],{"id":196,"slug":2968,"title":2969,"dynasty":1073,"author":1074,"museum":1075,"description":2970,"tags":2971,"thumbUrl":2972,"material":1098,"size":2973,"collection":6,"collections":2974,"showCount":2922,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[1055,1059,1060,1110,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[6],{"id":197,"slug":2976,"title":2977,"dynasty":1073,"author":1074,"museum":1052,"description":2978,"tags":2979,"thumbUrl":2980,"material":1063,"size":2981,"collection":6,"collections":2982,"showCount":2922,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[1057,1058,1059,1060,1061,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[6],{"id":198,"slug":2984,"title":2985,"dynasty":1300,"author":2821,"museum":1287,"description":2822,"tags":2986,"thumbUrl":2988,"material":1064,"size":1064,"collection":6,"collections":2989,"showCount":2990,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴",[1057,1058,1061,1161,1160,2235,1700,2987,2824,1304,1452,1062],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[6],73,{"id":199,"slug":2992,"title":2993,"dynasty":1050,"author":1849,"museum":1052,"description":2994,"tags":2995,"thumbUrl":2996,"material":1220,"size":1064,"collection":6,"collections":2997,"showCount":2990,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","比忽忽附书。谅亦在下旬可到。途中收十月三日手笔并诗。深以为慰。示喻已悉。襄州之行非所惮也。不谓以常式?免。就降改命。?难避事。何以自文。不知阅古之意如何。今必有定论矣。十九日入京。西界交割安抚司职事。廿日方得改差札子。已具?免。且在郢州境上伺候回降。若省札更迟数日。则已到襄阳。郢去襄只二百余里。江陵亦然。岁晚客里。进退不能。势须等候月十日方见次第。地远往返动是许时。远宦非便。殆此类也。旅中灯下作此。言不尽意。余希加爱。不宣。十月廿日琚上。寿父判寺守簿贤弟",[1058,1059,1093,1290,1079,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg",[6],{"id":200,"slug":2999,"title":3000,"dynasty":1073,"author":1074,"museum":1564,"description":3001,"tags":3002,"thumbUrl":3004,"material":1290,"size":3005,"collection":6,"collections":3006,"showCount":2990,"zanCount":1201,"manualWeight":1068,"mainColor":1386},"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[1055,1059,1078,1058,2011,1111,3003],"碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","32x1126厘米",[6],{"id":201,"slug":3008,"title":3009,"dynasty":1050,"author":1133,"museum":1052,"description":3010,"tags":3011,"thumbUrl":3012,"material":1098,"size":3013,"collection":6,"collections":3014,"showCount":2990,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[1055,1059,1060,1062,1058,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[6],{"id":202,"slug":3016,"title":3017,"dynasty":1050,"author":3018,"museum":1075,"description":3019,"tags":3020,"thumbUrl":3022,"material":1082,"size":3023,"collection":1187,"collections":3024,"showCount":2990,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","梁楷","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[1055,1057,1080,1110,3021,1180,2769,1059,1060,1062],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[1187,6],{"id":203,"slug":3026,"title":3027,"dynasty":1156,"author":3028,"museum":1052,"description":3029,"tags":3030,"thumbUrl":3031,"material":1220,"size":3032,"collection":6,"collections":3033,"showCount":3034,"zanCount":1223,"manualWeight":1068,"mainColor":1069},"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",[1055,1059,1060,1110,1093,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c1189ecd1a40b1880c8bc8e430647.jpg","纵23.3cm。",[6,1168],72,{"id":204,"slug":3036,"title":3037,"dynasty":1156,"author":2361,"museum":3038,"description":3039,"tags":3040,"thumbUrl":3042,"material":1064,"size":1064,"collection":6,"collections":3043,"showCount":3034,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"jin-gang-bo-re-bo-luo-mi-jing-juan-liu-hong-gui-shu-tang-chao-yi-feng-yuan-nian-shou-gao-yi-ming-221045","金刚般若波罗蜜经.卷.刘弘珪书.唐朝仪凤元年手稿","中国国家图书馆","本卷金刚般若波罗蜜经不是一般的金刚般若波罗蜜经，而是中国国家图书馆藏敦煌卷轴——唐朝仪凤元年手稿扫描件制成的，因为该文献略有残缺，更突显了金刚般若波罗蜜经卷轴的珍贵，看惯了简体字的你，或许可以看看唐朝时期的金刚般若波罗蜜经是什么样的。",[1055,1112,1059,1078,3041,1414],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29c7659e45397d5dcba55140d981984.jpg",[6],{"id":205,"slug":3045,"title":3046,"dynasty":1050,"author":3047,"museum":1564,"description":3048,"tags":3049,"thumbUrl":3050,"material":1098,"size":3051,"collection":6,"collections":3052,"showCount":3053,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[1055,1060,1078,1059,1110,1111,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[6],71,{"id":206,"slug":3055,"title":3056,"dynasty":1050,"author":1051,"museum":1287,"description":3057,"tags":3058,"thumbUrl":3059,"material":3060,"size":3061,"collection":6,"collections":3062,"showCount":3053,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"di-zhu-ming-juan-huang-ting-jian-221276","砥柱铭卷","《砥柱铭》是“宋四家”之一北宋著名书法家黄庭坚的手书作品，是他散落民间的最重要的书法瑰宝之一。内容是黄庭坚生前最为推崇的唐代宰相魏征写的《砥柱铭》，全文600多字。\n卷上有宋代贾似道、明代项元汴直至清代民国藏家的大量题跋和钤印。2010年以4.368亿元拍卖成交。\n黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[1055,1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffe5e71095a96040c58af2051eb7df.jpg","手书","手卷长达11米，画心长8米",[6],{"id":207,"slug":3064,"title":3065,"dynasty":1050,"author":1849,"museum":1052,"description":3066,"tags":3067,"thumbUrl":3071,"material":3072,"size":3073,"collection":6,"collections":3074,"showCount":3053,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[1055,1059,1060,1267,1248,1062,1349,3068,3069,1794,3070,1350],"溪","垂杨","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","绢","98.6x55.3cm",[6],{"id":208,"slug":3076,"title":3077,"dynasty":1156,"author":3078,"museum":1287,"description":3079,"tags":3080,"thumbUrl":3081,"material":1064,"size":1064,"collection":6,"collections":3082,"showCount":3053,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"zhang-hao-hao-shi-du-mu-221110","张好好诗","杜牧","《张好好诗》是唐代文学家杜牧创作的一首诗。此诗以浓笔重彩，追忆了张好好六年前初吐清韵、名声震座的美好一幕。当年风姿绰约的张好好，才不过几年，竟已沦为卖酒东城的“当垆”之女。杜牧用精湛的诗歌语言，再现了张好好升浮沉沦的悲剧生涯，抒发了诗人对这类无法主宰自己命运的苦难女子的深切同情。全诗情绪饱满，文辞清秀，堪称唐诗中的佳作。",[1055,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3673bf4d376a38eed699e0f44d7cbf5.jpg",[6],{"id":209,"slug":3084,"title":3085,"dynasty":1073,"author":1074,"museum":1564,"description":3086,"tags":3087,"thumbUrl":3088,"material":1098,"size":3089,"collection":6,"collections":3090,"showCount":3053,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[1055,1060,1059,1110,1058,1062,1160,1180,1080,1161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[6],{"id":210,"slug":3092,"title":3093,"dynasty":1300,"author":3094,"museum":1052,"description":3095,"tags":3096,"thumbUrl":3097,"material":1082,"size":3098,"collection":6,"collections":3099,"showCount":3053,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-huai-su-zi-xu-zhong-tang-zheng-xie-214238","书怀素自序中堂","郑燮","墨韵流转间，六分半书的奇趣跃然纸上。篆隶的古拙、行草的纵逸交织，笔画如铁画银钩，时而厚重沉凝，时而飞白流转。字形欹正相生，大小错落如乱石铺街，却在跌宕中藏着章法的妙趣。写怀素自序，既得草圣的洒脱意气，又融书者自身的率真性情——每一笔都似带着文人风骨，刚柔相济间，可见对传统的解构与重构。章法疏密有致，行与行的呼应如流水映月，枯润对比中透着笔墨灵动。整体气息清劲洒脱，不拘一格，仿佛能窥见挥毫时的快意，是融众家之长又自成一格的生动写照。",[1055,1579,1059,1058,1061,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[6],{"id":211,"slug":3101,"title":3102,"dynasty":1173,"author":3103,"museum":1052,"description":3104,"tags":3105,"thumbUrl":3106,"material":1082,"size":3107,"collection":6,"collections":3108,"showCount":3053,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-wu-yan-lian-chen-hong-shou-214230","行书五言联","陈洪绶","笔锋似铁线盘桓，结体如奇峰耸峙。线条粗细跌宕间藏篆隶古意，墨色浓淡交错处见行草灵动。联语与书风浑然一体：无意曲阿，守拙存真；只行此事，抱朴持恒。每一字皆若老松卧石，静穆中透着锋芒，孤傲里含着坚守。陈洪绶以画名世，书法却自成高格，于欹侧中求平衡，于刚健中见柔婉。观此联，如沐古风，墨韵间流淌着晚明文人的风骨与气度，尽显其艺术世界里的独特品格。",[1055,1059,1060,1580,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0d7671bfe131d0363a844b26ffe63a.jpg","115.7x27.4",[6],{"id":212,"slug":3110,"title":3111,"dynasty":1144,"author":1145,"museum":3112,"description":3113,"tags":3114,"thumbUrl":3118,"material":1098,"size":3119,"collection":6,"collections":3120,"showCount":3121,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"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。",[1059,1060,3115,3116,3117],"笔墨","帖","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0bf13a3fc38ad9b01d9a38229a29a96.jpg","纵24.8厘米，3行，20字",[6,1168],70,{"id":213,"slug":3123,"title":3124,"dynasty":1173,"author":3125,"museum":1075,"description":3126,"tags":3127,"thumbUrl":3129,"material":1098,"size":3130,"collection":6,"collections":3131,"showCount":3121,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","杜琼","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[1055,1059,1060,1078,3128,1248,1080,1062,1093],"行楷","https:\u002F\u002Foss.chuangqi.s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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。",[1056,1057,1058,1110,1060,1148,1059,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[6,1168],{"id":220,"slug":3184,"title":3185,"dynasty":1300,"author":3186,"museum":1052,"description":3187,"tags":3188,"thumbUrl":3189,"material":1082,"size":3190,"collection":6,"collections":3191,"showCount":3166,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"lu-wang-duo-zeng-tang-ruo-wang-shi-han-li-rui-qing-214212","录王铎赠汤若望诗翰","李瑞清","笔锋游走间，篆隶古意暗涌。颤笔如老树盘根，线条苍劲中带着金石质感，却又不失流转之姿。取法南北碑版，骨架雄健如北碑扛鼎，血肉温润似南帖漫吟。墨色浓淡枯润交错，章法疏密有致，行气如江河奔涌，一气呵成。单字欹正相生，险中求稳，每一笔都似有千钧之力，却又灵动婉转，将碑学的沉雄与帖学的飘逸融于一体，自成一格。观之如见古贤把盏论道，墨香里藏着岁月的厚重与文心的飞扬，每一处转折都藏着对传统的敬畏与创新的胆魄。",[1055,1059,1061,1060,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702948c8b7c63c234f94601fa105d877.jpg","150.6x39.8",[6],{"id":221,"slug":3193,"title":3194,"dynasty":1050,"author":3195,"museum":1075,"description":3196,"tags":3197,"thumbUrl":3201,"material":1463,"size":3202,"collection":6,"collections":3203,"showCount":3204,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[1055,1056,1057,1058,1110,1060,1059,1080,1178,1555,3198,1249,3199,3200],"雪景","岸","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[6],68,{"id":222,"slug":3206,"title":3207,"dynasty":1050,"author":1051,"museum":1052,"description":3208,"tags":3209,"thumbUrl":3210,"material":1220,"size":3211,"collection":6,"collections":3212,"showCount":3204,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"shu-wang-xi-zhi-lun-shu-ce-huang-ting-jian-221268","书王羲之论书册","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[1059,1060,1079,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002c75cd36c4f5fdd968f25e1b4967d8.jpg","32×17.2",[6],{"id":223,"slug":3214,"title":3215,"dynasty":1156,"author":1286,"museum":1564,"description":3216,"tags":3217,"thumbUrl":3218,"material":2331,"size":3219,"collection":6,"collections":3220,"showCount":3204,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[1055,1059,1060,1093,1058,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纵25.5cm，横33.6cm",[6],{"id":224,"slug":3222,"title":3223,"dynasty":1156,"author":1926,"museum":1287,"description":3224,"tags":3225,"thumbUrl":3226,"material":1098,"size":2341,"collection":6,"collections":3227,"showCount":3204,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"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」。",[1055,1059,1148,1110,1093,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[6,1168],{"id":225,"slug":3229,"title":3230,"dynasty":1050,"author":3231,"museum":2087,"description":3232,"tags":3233,"thumbUrl":3234,"material":3235,"size":3236,"collection":6,"collections":3237,"showCount":3204,"zanCount":1385,"manualWeight":1068,"mainColor":1064},"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220619","宋刻米芾英光堂帖","米芾,岳珂","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[1055,1059,1290,1093,1060,1148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[6],{"id":226,"slug":3239,"title":3240,"dynasty":1050,"author":1133,"museum":1052,"description":3241,"tags":3242,"thumbUrl":3243,"material":1098,"size":3244,"collection":6,"collections":3245,"showCount":3204,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[1055,1058,1059,1060,1093,1062,1098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[6],{"id":227,"slug":3247,"title":2160,"dynasty":1300,"author":2161,"museum":1052,"description":3248,"tags":3249,"thumbUrl":3250,"material":1082,"size":3251,"collection":6,"collections":3252,"showCount":3204,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"kai-shu-qi-yan-lian-ceng-guo-quan-214235","此联楷书笔力沉雄，起收顿挫间见骨力，中锋行笔如锥画沙，墨色浓润饱满。字形端稳方正却不失灵动之致，每一字皆如磐石立地，又暗含舒展之态。联句“前席争传宣室贵”“等身唯守鲁堂书”，文气与书风相融，宣室之重与鲁堂之雅在笔墨间流转。上下联布局匀称，落款小字恭谨，与主体大字相得益彰，章法严谨而气韵贯通。观之如临古贤书斋，庄重中透着书卷清韵，笔墨里藏着经世之志与向学之心，尽显大家风范。",[1055,1300,1059,1078,1580,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bdeaf2d0e294120d16ea7f43344af9.jpg","162.2x38.6",[6],{"id":228,"slug":3254,"title":3255,"dynasty":1073,"author":3151,"museum":1052,"description":3256,"tags":3257,"thumbUrl":3259,"material":1082,"size":3260,"collection":6,"collections":3261,"showCount":3204,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[1055,1057,1058,1061,1059,1060,1080,1556,1592,1362,1825,3258],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[6],{"id":229,"slug":3263,"title":3264,"dynasty":2255,"author":2256,"museum":1075,"description":3265,"tags":3266,"thumbUrl":3267,"material":1098,"size":3268,"collection":6,"collections":3269,"showCount":3270,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[1055,1059,1148,1110,1080,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[6],67,{"id":230,"slug":3272,"title":3273,"dynasty":1173,"author":2116,"museum":1052,"description":3274,"tags":3275,"thumbUrl":3276,"material":3277,"size":3278,"collection":6,"collections":3279,"showCount":3270,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[1055,1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 x 169 cm",[6],{"id":231,"slug":3281,"title":3282,"dynasty":1073,"author":1074,"museum":1052,"description":3283,"tags":3284,"thumbUrl":3285,"material":1098,"size":3286,"collection":6,"collections":3287,"showCount":3270,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[1055,1059,1060,1061,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[6],{"id":232,"slug":3289,"title":3290,"dynasty":1173,"author":3291,"museum":1075,"description":3292,"tags":3293,"thumbUrl":3294,"material":1082,"size":3295,"collection":6,"collections":3296,"showCount":3270,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"cao-shu-you-qi-xing-yan-shi-jie-jin-219157","草书· 游七星岩诗","解缙","释文：游七星岩偶成。早饭行春桂水东，野花榕叶露重重。七星岩曲篝镫入，百转萦回路径通。石榴滴余成物象，古潭深处有蛟龙。却归为恐衣沾湿，洞口云生日正中。就日门前春水生，浮波岩下钓船轻。漓江倒影山如画，榕树交柯翠夹城。村店午时鸡乱叫，游人陌上酒初醒。殊方异俗同熙皞，欲进讴谣合颂声。度水穿林访隐君，七星岩畔鹤成群。犹疑仙李遗朱实，几见蟠桃结绛云。石乳悬崖金烂烂，瀑泉隥洞鸟纷纷。柳莺满树春风啭，共坐高吟把酒闻。桂水东边度石桥，酒祈村巷见渔樵。葭祠歌吹迎神女，野庙苹繁祀帝尧。附郭有山皆积石，仙岩无路不通霄。日长衣繍观民俗，行乐光辉荷圣朝。永乐戊子五月十一日，为文弼书廌识。",[1055,1148,1059,1110,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[6],{"id":233,"slug":3298,"title":3299,"dynasty":1050,"author":3300,"museum":1052,"description":3301,"tags":3302,"thumbUrl":3306,"material":1165,"size":3307,"collection":6,"collections":3308,"showCount":3309,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷","易元吉","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[1055,1056,1057,1058,1110,1161,1160,3303,3304,1163,1062,3305],"猴","猫","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分",[6],66,{"id":234,"slug":3311,"title":1629,"dynasty":1156,"author":1630,"museum":1631,"description":1632,"tags":3312,"thumbUrl":3313,"material":1635,"size":1636,"collection":6,"collections":3314,"showCount":3309,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[1055,1059,1078,1112,1093,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[6,1168],{"id":235,"slug":3316,"title":2021,"dynasty":1300,"author":3143,"museum":1052,"description":3317,"tags":3318,"thumbUrl":3319,"material":1082,"size":3320,"collection":6,"collections":3321,"showCount":3309,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"xing-shu-qi-yan-lian-ceng-guo-fan-214232","笔墨沉雄如老松盘枝，每一笔皆含劲健之气，却又不失行书的流转意趣。欹侧间见平稳，牵丝处藏筋骨，颜体的浑厚与行书的洒脱交融，自成一格。联句“欹枕旧游来眼底，掩书馀味在胸中”文辞清雅，与书法的沉郁韵致相映成趣——墨痕里藏着岁月沉淀，笔锋间流露文人襟怀。读之观之，仿佛触到书写者掩卷沉思的心境：旧游历历如在目前，典籍余味萦绕心间。笔墨与文辞共织成一幅文人雅态，余味悠长，耐人寻味。",[1055,1059,1060,1580,1061,1080,1098,1579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bdcbbeb48c7f7d13570de73d4bf1b0.jpg","129x30.8",[6],{"id":236,"slug":3323,"title":3324,"dynasty":1300,"author":3325,"museum":1287,"description":3326,"tags":3327,"thumbUrl":3328,"material":3329,"size":1064,"collection":1189,"collections":3330,"showCount":3331,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[1057,1058,1061,1534,1080,1160,1180,2442,1062,1059,1448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg","纸本，设色",[1189,6],65,{"id":237,"slug":3333,"title":3334,"dynasty":1073,"author":3335,"museum":1075,"description":3336,"tags":3337,"thumbUrl":3338,"material":1098,"size":3339,"collection":6,"collections":3340,"showCount":3331,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"zhuan-shu-lou-shi-ming-juan-tai-bu-hua-221844","篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[1055,1513,1059,1110,1062,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aead25aafad0b776e8c3ac69e1dc0e8.jpg","纵36.9厘米，横113.5厘米",[6],{"id":238,"slug":3342,"title":3343,"dynasty":1156,"author":1651,"museum":1564,"description":3344,"tags":3345,"thumbUrl":3346,"material":1404,"size":3347,"collection":6,"collections":3348,"showCount":3331,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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。",[1055,1059,1148,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[6,1168],{"id":239,"slug":3350,"title":3351,"dynasty":1173,"author":2632,"museum":3352,"description":3353,"tags":3354,"thumbUrl":3355,"material":1220,"size":3356,"collection":6,"collections":3357,"showCount":3358,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"nan-hua-zhen-jing-wang-chong-222247","南华真经","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。",[1055,1059,1112,1110,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8deb6432f583ee8a984338a7c0a3cdfa.jpg","每开尺寸长19.1、宽12.5厘米",[6],64,{"id":240,"slug":3360,"title":3361,"dynasty":1156,"author":1286,"museum":1075,"description":3362,"tags":3363,"thumbUrl":3364,"material":1098,"size":3365,"collection":6,"collections":3366,"showCount":3358,"zanCount":1223,"manualWeight":1068,"mainColor":1777},"zhang-han-tie-ou-yang-xun-221108","张翰帖","《张翰帖》也称季鹰帖，记张翰故事。释文：\n“張翰字季鷹，吳郡人。有清才，善屬文，而縱任不拘，時人號之爲江東步兵。後謂同郡顧榮曰：天下紛紜，禍難未已。夫有四海之名者，求退良難。吾本山林間人，無望于時。子善以明防前，以智慮後。榮執其（疑缺“手”字）愴然，翰因見秋風起，乃思吳中菰菜鱸魚，遂命駕而歸。”（方框内字残，现据《晋书》补）\n此段文字见于《晋书·文苑》及《世说新语》等书中，但均属节录。张翰是西晋吴郡(今苏州)人，富于才情，为人舒放不羁，旷达纵酒，当时人将他喻为三国魏时“竹林七贤”之一的阮嵇(阮嵇曾为步兵校尉，人称阮步兵)，称他“江东步兵”。他追随贺循至洛阳做了齐王的官，但他并不快乐，时常思念江南故乡，于是萌生隐退山林、远离乱世之念，后终弃官回乡。\n《张翰帖》原属《史事帖》，是唐代著名书法家欧阳询存世四件墨迹之一。此帖是字体修长，笔力刚劲挺拔，风格险峻，精神外露。对开有瘦金书题跋一则，是宋徽宗赵佶在赏鉴之余写下的心得。他评此帖“笔法险劲，猛锐长驱”，并指出欧阳询“晚年笔力益刚劲，有执法面折庭争之风，孤峰崛起，四面削成。”这段评语对我们欣赏《张翰帖》以及其他欧体书都是极为重要的。\n本幅与题跋钤宋高宗赵构和清代收藏家安岐的印记。可知此帖曾藏南宋绍兴内府，清代由安岐收藏，后入乾隆内府，原有清内府玺印及乾隆帝题字，被刮去。\n此帖为唐人钩填本，笔墨厚重，锋棱稍差。\n清卞永誉《式古堂书画汇考》，清吴升《大观录》、安岐《墨缘汇观》等书有著录。",[1055,1059,1060,1058,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0030172b585a61f612db1ebc51a2de00.jpg","纵25.1厘米，横31.7厘米",[6],{"id":241,"slug":3368,"title":3369,"dynasty":1300,"author":3370,"museum":1052,"description":3371,"tags":3372,"thumbUrl":3373,"material":1082,"size":3374,"collection":6,"collections":3375,"showCount":3358,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"li-shu-zhou-zheng-fu-214247","隶书轴","郑簠","此隶书作取法汉碑精髓，笔致灵动洒脱，蚕头燕尾意趣天成，横波跌宕间藏古雅风骨。字形扁方舒展，如汉阙卧云，沉稳中透着逸气。墨色浓淡相宜，枯润相生，规整处见变化，显匠心独运。左款小字与主体隶书相映成趣，章法疏朗有致，整体气象浑朴，既有汉隶的厚重雄浑，又含文人书家的清逸韵致，堪称清初隶书复兴浪潮中的精品，尽显传统书法之美。",[1055,1058,1059,1956,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0e8b381e54abed129e99db901c6df3.jpg","181.5x120.3",[6],{"id":242,"slug":3377,"title":3378,"dynasty":1300,"author":3379,"museum":1052,"description":3380,"tags":3381,"thumbUrl":3382,"material":1082,"size":3383,"collection":6,"collections":3384,"showCount":3358,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"li-shu-liu-yan-lian-lu-hui-214244","隶书六言联","陆恢","笔墨沉厚含汉碑遗韵，蚕头燕尾间见古雅风骨。上联静观白水，澄澈如心之盟，笔意敛藏静气；下联遍访青山，以天地为笺打稿，笔画舒展似丘壑在胸。动静相济的联句，借隶书沉稳灵动之态，铺展文人观物雅趣——于静水照见本心，于青山撷取画魂。墨色浓淡相宜，结体端方却不失活脱，每一笔皆似与自然对话，融山水之灵与书者之情于尺幅，尽显传统文人“外师造化，中得心源”的修为与意趣。",[1055,1058,1059,1956,1580,1061,1579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eca515ee23c93b4a552187bf680dd89.jpg","85x20.1",[6],{"id":243,"slug":3386,"title":3387,"dynasty":1300,"author":2780,"museum":1075,"description":3388,"tags":3389,"thumbUrl":3390,"material":1098,"size":3391,"collection":6,"collections":3392,"showCount":3393,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhu-da-yan-zhou-shan-ren-shi-zhou-zhu-da-240511","朱耷弇州山人诗轴","释文：\n當時七子才名大，誰似金甌出御題。搖筆江南開雨露，揮鞭海水卷虹霓。張公政就民堪乐，蜀國弦調聽不淒。倘许元戎過小隊，新庄亦字浣花溪。\n末识“弇州山人诗，八大山人书。”下钤“八大山人”、“何园”印二方。首钤“遥属”印一方。本幅无藏印，未见著录。\n此件作品为朱耷晚年创作。所书的这首七言律诗乃明代王世贞所作，原题为“喜肖甫中丞开府吴中”其二。“中丞”为巡抚的别称。此诗是王世贞为友人官拜巡抚，恭贺誌喜而作。原诗收入《四库全书·弇州山人四部稿》卷41，两相对照，诗句互有出入。原诗为“当时七子大名齐，谁似金瓯出御题。摇笔江南开雨露，挥鞭海外卷虹霓。张公政就真堪乐，蜀国弦调自不凄。倘许元戎过小队，新庄亦号浣花溪。”\n朱耷将篆书笔法融于行草书中所形成的独特书体，在清初书坛独树一帜。他的作品多藏锋运笔，点划圆融，转换轻便，章法布置疏密得当，错落有致，于均衡与工整当中呈现出奇特、险怪、夸张的艺术特色。线条的运用和章法的分间布白与其绘画有异曲同工之妙。",[1059,1148,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621ebdd18807e3f033488d97158760b7.jpg","纵200.9厘米，横76.5厘米",[6],63,{"id":244,"slug":3395,"title":3396,"dynasty":1300,"author":3397,"museum":1075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（1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[1061,1057,1058,1080,1160,2569,3400,1060,1059,2810],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[6],{"id":245,"slug":3404,"title":3405,"dynasty":1300,"author":2361,"museum":1287,"description":3406,"tags":3407,"thumbUrl":3409,"material":1064,"size":1064,"collection":1187,"collections":3410,"showCount":3393,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"hong-ren-shan-shui-ce-yi-ming-235155","弘仁山水册","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[1057,1058,1079,1080,1177,1178,1450,1182,1180,3408],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[1187,6],{"id":246,"slug":3412,"title":3413,"dynasty":1300,"author":3414,"museum":1052,"description":3415,"tags":3416,"thumbUrl":3417,"material":1098,"size":1064,"collection":6,"collections":3418,"showCount":3393,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-hua-ce-ye-wu-hu-fan-221009","《书画册页》","吴湖帆","此作为鉴藏题签，以颜楷立骨，行书辅意。主文笔墨沉厚雄健，结体宽博开张，笔势遒劲苍浑；侧款灵动疏朗，与主文虚实相生，错落有致。浓墨配古雅笺纸，朱印鲜亮点睛，书、纸、印三者相得益彰。题字既点明藏品之珍绝，亦寄寓藏家矜惜之意，将鉴藏风雅融于笔墨之间，尽显鉴藏大家的笔墨风骨与文雅襟怀，是一件兼具鉴藏价值与书法审美意趣的文人小品。",[1055,1059,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956aee8c8c5e1ea4324478f47a3f7008.jpg",[6],{"id":247,"slug":3420,"title":3421,"dynasty":1073,"author":1074,"museum":1122,"description":3422,"tags":3423,"thumbUrl":3424,"material":1098,"size":3425,"collection":6,"collections":3426,"showCount":3393,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[1055,1058,1059,1060,1110,1062,1111,2011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[6],{"id":248,"slug":3428,"title":3429,"dynasty":1156,"author":3430,"museum":1287,"description":3431,"tags":3432,"thumbUrl":3434,"material":1294,"size":3435,"collection":6,"collections":3436,"showCount":3393,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"jin-ci-ming-li-shi-min-214615","晋祠铭","李世民","碑上刻有 贞观二十年正月二十六日 的字样，用 飞白 书写。碑的两侧刻有一对螭龙，头朝下垂着，这是唐代碑的一个特点。碑文全文由28行1203个字符组成，每行有44-50个字符。这段文字刻在石碑的四面。石碑男性一侧的文字颂扬了唐帝国的民事和军事成就，纪念了唐帝国的早期统治。包括长孙无忌在内的有功之臣的名字都刻在石碑的阴面。在石碑的左右两侧有宋代人物的题字，他们曾到过这里，并在石碑上写下了文字。晋祠的碑文是第一个用行书写成的，被后人认为是行书的杰作，仅次于王羲之的《兰亭序》。",[1292,1059,1060,1290,3433],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6065f63d3f1660ddad46fd831cad70.jpg","195x122",[6],{"id":249,"slug":3438,"title":3439,"dynasty":1050,"author":1051,"museum":1052,"description":3208,"tags":3440,"thumbUrl":3441,"material":2331,"size":3442,"collection":6,"collections":3443,"showCount":3444,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-han-shan-zi-pang-ju-shi-shi-juan-huang-ting-jian-221267","书寒山子庞居士诗卷",[1059,1060,1110,1098,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdc8b7f6439835438af172d141a859d.jpg","纵29.1厘米，横213.8厘米",[6],62,{"id":250,"slug":3446,"title":3447,"dynasty":1343,"author":3448,"museum":1052,"description":3449,"tags":3450,"thumbUrl":3451,"material":1098,"size":1064,"collection":6,"collections":3452,"showCount":3453,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"ping-shu-tie-zhi-guo-221050","评书帖","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。”",[1059,1078,1079,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe564d6e36aaa834951fd5f5ade936548.jpg",[6,1168],61,{"id":251,"slug":3455,"title":3456,"dynasty":1144,"author":1145,"museum":1052,"description":3457,"tags":3458,"thumbUrl":3459,"material":1220,"size":2736,"collection":6,"collections":3460,"showCount":3453,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"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。",[1055,1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg",[6,1168],{"id":252,"slug":3462,"title":3463,"dynasty":1073,"author":1074,"museum":1075,"description":3464,"tags":3465,"thumbUrl":3466,"material":1098,"size":3467,"collection":6,"collections":3468,"showCount":3453,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[1059,1060,1291,1062,1110,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[6],{"id":253,"slug":3470,"title":3471,"dynasty":1173,"author":1422,"museum":1075,"description":3472,"tags":3473,"thumbUrl":3474,"material":2617,"size":3475,"collection":6,"collections":3476,"showCount":3453,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[1055,1057,1058,1110,2614,1080,1160,1161,1178,1348,1349,1183,1425,1450,1182,1059,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[6,2093],{"id":254,"slug":3478,"title":1934,"dynasty":1173,"author":1935,"museum":1936,"description":1937,"tags":3479,"thumbUrl":3480,"material":1098,"size":1940,"collection":6,"collections":3481,"showCount":3482,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"teng-wang-ge-xu-wen-zheng-ming-222000",[1055,1110,1093,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b095c13f4a79bfda9cd3f00c324864.jpg",[6],60,{"id":255,"slug":3484,"title":3485,"dynasty":1156,"author":1286,"museum":1564,"description":3486,"tags":3487,"thumbUrl":3488,"material":1098,"size":1064,"collection":6,"collections":3489,"showCount":3482,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[1055,1059,1078,1110,1058,1062,1093,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[6],{"id":256,"slug":3491,"title":3492,"dynasty":1173,"author":2116,"museum":1287,"description":3493,"tags":3494,"thumbUrl":3501,"material":3502,"size":3503,"collection":6,"collections":3504,"showCount":3482,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[1055,1059,1060,1110,2050,1767,2860,1592,3495,3496,3497,3498,3499,1593,2861,3500],"草","霜","日夕","杯","林","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[6],{"id":257,"slug":3506,"title":3507,"dynasty":1173,"author":3508,"museum":1052,"description":3509,"tags":3510,"thumbUrl":3511,"material":1082,"size":3512,"collection":6,"collections":3513,"showCount":3482,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cao-shu-wu-yan-lian-xu-guang-zuo-214228","草书五言联","许光祚","许光祚是明朝时期的一位著名草书家。他的草书五言联（五言绝句）是他的代表作之一。五言绝句是一种中国文学体裁，由五个五言诗组成。每一行均为五个字，共十行，句尾不须规定韵脚。五言绝句常被用于写诗，也可以用来写论文、散文等。许光祚的草书五言联被认为是其代表作之一，以其优美的笔法和优秀的构思著称。",[1055,1059,1148,1580,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e52251aeb0efb31a0c91c6b12d432.jpg","150.9x29.9",[6],{"id":258,"slug":3515,"title":3516,"dynasty":1073,"author":2361,"museum":1075,"description":3517,"tags":3518,"thumbUrl":3520,"material":3521,"size":3522,"collection":2093,"collections":3523,"showCount":3524,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[1057,1080,1061,1059,1062,1177,1178,2769,1425,1362,1906,3519],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纸本，墨笔","纵114cm，横34.3cm",[2093,6],59,{"id":259,"slug":3526,"title":3527,"dynasty":1073,"author":1074,"museum":1631,"description":3528,"tags":3529,"thumbUrl":3530,"material":1098,"size":3531,"collection":6,"collections":3532,"showCount":3524,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[1055,1110,1059,1060,1093,1062,1267,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[6],{"id":260,"slug":3534,"title":3535,"dynasty":1300,"author":3536,"museum":1287,"description":3537,"tags":3538,"thumbUrl":3543,"material":1064,"size":1064,"collection":2093,"collections":3544,"showCount":3545,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-tu-zhou-kun-can-237873","山水图轴","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[1057,1080,1177,1061,1058,1060,1062,1178,2197,1450,3539,3540,3541,3542,2198],"瀑布","亭台","溪流","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[2093,6],58,{"id":261,"slug":3547,"title":3548,"dynasty":1156,"author":3549,"museum":1611,"description":3550,"tags":3551,"thumbUrl":3552,"material":1148,"size":3553,"collection":6,"collections":3554,"showCount":3545,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xiao-jing-he-zhi-zhang-221103","孝经","贺知章","《草书孝经》 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“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。",[1059,1060,1733,3560,1079,1058,2013],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[6,1168],{"id":263,"slug":3566,"title":3567,"dynasty":1173,"author":2116,"museum":1075,"description":3568,"tags":3569,"thumbUrl":3570,"material":3571,"size":3572,"collection":6,"collections":3573,"showCount":3545,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fang-yan-zhen-qing-shu-zhou-dong-qi-chang-220937","仿颜真卿书轴","董其昌《仿颜真卿书轴》，本幅抄录唐人萧嵩诗，赞颂张说（西元六六七至七三Ο年）及唐代集贤院文风。此轴楷书用笔浑厚，结字灵动，承继颜真卿（西元七Ο九至七八五年）楷书精神，但更讲究用笔变化以及疏朗行气，堪称是董其昌在颜体中追求虚和取韵的自我面貌。\n\n董其昌的书法，不仅影响着晚明书坛，并且深刻地影响着清代的康乾盛世。《书林藻鉴》中说：“圣祖则酷爱董其昌书，海内真迹，搜访殆尽，玉、煤金题，汇登秘阁。董书在明末已靡于江南，自经新朝睿赏，声价益重，朝殿考试，斋廷供奉，干禄求仕，视为捷途，风会所趋，香光几定于一尊矣。”",[1058,1059,1061,1291,1062,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194bce2ffa4033f864692ba3272ec41f.jpg","绢本，行楷书","纵36.8cm，横1579.7cm",[6],{"id":264,"slug":3575,"title":3576,"dynasty":1073,"author":1074,"museum":1564,"description":3577,"tags":3578,"thumbUrl":3579,"material":1098,"size":3580,"collection":6,"collections":3581,"showCount":3582,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[1055,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[6],57,{"id":265,"slug":3584,"title":3585,"dynasty":1050,"author":1133,"museum":1052,"description":3586,"tags":3587,"thumbUrl":3588,"material":1098,"size":3589,"collection":6,"collections":3590,"showCount":3582,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"bao-yue-tie-yu-chuai-cha-tie-su-shi-220232","宝月贴与啜茶贴","啜茶帖作于元丰三年，此帖为《致杜氏五札》之一，是东坡写给好友杜道源的一则便条，内容是邀请道源前来饮茶，顺便有事相商。\n啜茶帖用墨丰腴，笔触精到，每字各具姿态；大小错落，连绵有致，行间气脉贯穿，带有明显的晋人风韵。通篇而论，笔法精严而不拘束，姿态妍美而不做作，行文内容的轻松随意使得落笔自由挥洒，筋骨在形，神情寓内，短短32字气韵生动，传递出一种法度之上更有自在的适然情绪。\n宝月帖于治平二年书,此帖也为《致杜氏五札》之一\n此帖中“大人”，应指东坡之父苏洵；“宝月”，即指东坡族兄僧惟简；“令子监簿”大概指杜道源，吴歼跋云：“明允(苏洵)友君懿而兄事之，道源以父任簿其官。”东坡书此帖时，父亲尚在世。文中云“催了《礼书》事”，这《礼书》即苏洵参与编纂的《太常因革礼》一百卷。《续资治通监》卷六三英宗治平二年九月辛酉：“提举编纂礼书、参知政事欧阳修奏，已编纂书成百卷，诏以《太常因革礼》为名，赐修等银帛有差。”又，欧阳修《故霸州文安县主簿苏君(明允)墓志铭》：“为《太常因革礼》一百卷，书成方奏未报，而君以疾卒。实治平三年四月戊申也。”谈《礼书》事，必在治平三年苏洵死前，且在治平二年九月书成之前。故定为治干二年初书此帖为宜。孔凡礼将此札编人《苏轼文集·轶文汇编》时归人《与杜道源五首》中，有误。因为治乎二年，杜道源之“令子”杜孟坚尚年少，未能“监簿”。\n此帖笔法峻健锐利，应为早年书，是东坡存世墨迹的肇始之作。",[1058,1059,1060,1062,1050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4c2d78a4e0cd6c8a1c9598d173294b.jpg","23厘米×17.7厘米",[6],{"id":266,"slug":3592,"title":3593,"dynasty":1300,"author":1301,"museum":3594,"description":3595,"tags":3596,"thumbUrl":3597,"material":1098,"size":3598,"collection":6,"collections":3599,"showCount":3582,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jie-lu-huai-su-zi-xu-tie-zheng-ban-qiao-220137","节录怀素自叙帖","武汉博物馆","此轴以画法入笔，左低右高，疏密有致，大小相宜，可谓“乱石铺街”，如“雨夹雪”。它不但完美地展现了板桥书法“真气、真意、真趣”的艺术风格，同时也彰显了艺术家狂放不羁、无拘无束的个性魅力。",[1055,1061,1059,1060,1148,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7b134b4869b9dcbeea028d9e01d678.jpg","159cm×91cm",[6],{"id":267,"slug":3601,"title":3602,"dynasty":1156,"author":3603,"museum":1287,"description":3604,"tags":3605,"thumbUrl":3606,"material":3607,"size":3608,"collection":6,"collections":3609,"showCount":3610,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"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。",[1055,1059,1112,1078,1110,1062,1414,1292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[6,1168],56,{"id":268,"slug":3612,"title":3613,"dynasty":1144,"author":3614,"museum":1075,"description":3615,"tags":3616,"thumbUrl":3618,"material":3619,"size":3620,"collection":6,"collections":3621,"showCount":3610,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"chu-shi-song-suo-jing-221018","出师颂","索靖","《出师颂》是古代流传的一幅章草体书法作品。原文作者是东汉史岑，书法作者存疑，据传为西晋索靖书。此作是存世书法作品中为数不多的古章草书作之一，书法笔势险峻，字体古朴简洁，具有很高的历史和艺术价值。",[1059,1110,3617,1062,1111],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\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，明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[1057,1058,1079,1060,1080,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[1309,6],{"id":271,"slug":3640,"title":3641,"dynasty":1300,"author":3642,"museum":1075,"description":3643,"tags":3644,"thumbUrl":3645,"material":3329,"size":1064,"collection":6,"collections":3646,"showCount":3629,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhu-xuan-shi-tu-zhou-jin-nong-dan-237160","竹玄石图轴","金农丹","竹之为物，其性不同于众木，不因寒暑而荣谢，不以四时而变化，风雨不惧，飒飒幽幽，劲不输于青松，曲可比于细柳，故寓君子于竹。\n国人与竹的心灵交契，可上溯《诗》《礼》。自东晋王徽之说“何可一日无此君”后，“君”便成了竹的别称。后世百代，竹都以君子的形象存寓在人们的心中。古代文士爱竹、咏竹、写竹，将一切美好的品德与理想的人格都赋予竹。自唐人“君子比德于竹”，到宋人“其身与竹化”，视竹为与自身心灵相通的君子，人与竹的精神联系已达到“物我无间”的境地。\n墨竹，又称“墨君”，起于唐而源流未审。北宋文同（字与可）、苏轼开文人写意墨竹之先河，其写竹不止于状貌，非图其外美，而以纯素之心体竹高洁之性。\n后世画家，凡写墨竹，无不受到文同与苏轼的影响，无不对其推崇备至。金代王庭筠，元代李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙等，明初王绂、夏昶，他们写竹，备竹子之法度神采，又饱含君子之气度品格，直承文苏之正脉。之后，陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等秉承文苏之风骨，融自己之心意，不同与可，却能“高呼与可”，为文人墨竹注入了新鲜的血液。“墨君”也因此承载了更多的意象和更高的情志。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[1057,1058,1061,1080,1362,1305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c12294b2fcf4f48504901088786c74.jpg",[6],{"id":272,"slug":3648,"title":3649,"dynasty":1144,"author":1489,"museum":1052,"description":3650,"tags":3651,"thumbUrl":3652,"material":3653,"size":3654,"collection":6,"collections":3655,"showCount":3629,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"san-huai-tie-wang-xian-zhi-221022","散怀帖","王献之（344年－386年），字子敬，小名官奴，琅玡临沂（今山东省临沂市）人。东晋官员、书法家、画家、诗人，右军将军王羲之第七子、晋简文帝司马昱女婿、晋安帝司马德宗的岳父。\n王献之少负盛名，才华过人。得到宰相谢安赏识，历任本州主簿、秘书郎、司徒左长史、吴兴太守，累迁中书令等职，与族弟王珉区分，人称“大令”。他先后迎娶郗道茂及新安公主司马道福为妻，嫁女于太子司马德宗（晋安帝）。太元十一年（386年），病逝，时年四十三岁 [1] 。安帝时获赠侍中、特进、光禄大夫、太宰，谥号为“宪”。\n王献之精习书法，以行书及草书闻名，在楷书和隶书上有深厚功底。在书法史上与王羲之并称“二王”，有“小圣”之称。又与张芝、钟繇、王羲之并称“书中四贤”。唐人张怀瓘《书估》评其书为“第一等”。 [2] 同时，王献之还善于作画，唐人张彦远《历代名画记》目其画为“中品下”。",[1059,1148,1290,1079,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712465363030588952e2ae348618c63.jpg","狂草","27.7x32.5",[6],{"id":273,"slug":3657,"title":3658,"dynasty":1050,"author":3659,"museum":3660,"description":3661,"tags":3662,"thumbUrl":3663,"material":1463,"size":3664,"collection":6,"collections":3665,"showCount":3629,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"san-sheng-tu-liu-song-nian-219554","三生图","刘松年","大英博物馆","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[1055,1056,1057,1058,1110,1161,1160,1177,1180,1178,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[6,1187],{"id":274,"slug":3667,"title":3378,"dynasty":1300,"author":3668,"museum":1052,"description":3669,"tags":3670,"thumbUrl":3671,"material":1082,"size":3672,"collection":6,"collections":3673,"showCount":3629,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"li-shu-liu-yan-lian-xia-ding-214240","夏鼎","这幅隶书联作，笔法古拙沉厚，蚕头燕尾的波磔分明却不张扬，横画舒展如古松偃卧，竖笔挺劲似石笋立崖。字形宽博方正，规整中藏灵动——“飞”字撇捺轻扬带行云意，“月”字弧笔圆转含清辉态。两联对称呼应，墨色浓淡相宜，枯笔见筋骨，润笔显华滋，章法疏朗气脉贯通。整体气息雅正醇厚，既有汉隶古朴沉雄遗韵，又融个人笔意鲜活灵动，将六言联语文趣与隶书金石味完美糅合。观之如临古雅书斋，墨香与诗韵交织，笔墨间见岁月沉淀的温润风骨，尽显传统书法的静穆之美与文人意趣。",[1055,1579,1059,1956,1580,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e82bd1e4d31ff74ba3a8613e2d34b.jpg","130.8x29.4",[6],{"id":275,"slug":3675,"title":3676,"dynasty":1173,"author":2022,"museum":3677,"description":3678,"tags":3679,"thumbUrl":3680,"material":1098,"size":1064,"collection":6,"collections":3681,"showCount":3682,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-shi-zhou-xu-wei-240643","唐诗轴","中央美术学院美术馆","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[1057,1058,1061,1080,1062,1059,1148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[6],54,{"id":276,"slug":3684,"title":3685,"dynasty":1300,"author":1510,"museum":1287,"description":3686,"tags":3687,"thumbUrl":3688,"material":1064,"size":1064,"collection":1309,"collections":3689,"showCount":3682,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"mo-mei-tu-zhou-wu-chang-shuo-239112","墨梅图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[1057,1058,1061,1080,2236,2442,1059,1062,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[1309,6],{"id":277,"slug":3691,"title":3692,"dynasty":1300,"author":2821,"museum":1287,"description":2822,"tags":3693,"thumbUrl":3697,"material":1064,"size":1064,"collection":6,"collections":3698,"showCount":3682,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[1057,1058,1061,1160,1161,3694,3695,3696,2063,2810,1062],"花瓶","秋花","花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[6],{"id":278,"slug":3700,"title":3701,"dynasty":1050,"author":3702,"museum":3703,"description":3704,"tags":3705,"thumbUrl":3706,"material":3707,"size":3708,"collection":1309,"collections":3709,"showCount":3682,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"jun-gu-tu-gong-kai-218938","骏骨图","龚开","日本大阪市立美术馆","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[1055,1057,1058,1110,1448,1080,1451,1059,1060,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[1309,6,1189],{"id":279,"slug":3711,"title":3712,"dynasty":1050,"author":1090,"museum":1075,"description":3713,"tags":3714,"thumbUrl":3715,"material":1278,"size":3716,"collection":6,"collections":3717,"showCount":3718,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[1055,1056,1057,1058,1060,1059,1062,1098,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[6],53,{"id":280,"slug":3720,"title":3721,"dynasty":1050,"author":1051,"museum":1287,"description":3722,"tags":3723,"thumbUrl":3724,"material":2278,"size":3725,"collection":6,"collections":3726,"showCount":3718,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[1055,1058,1059,1060,1079,1062,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[6],{"id":281,"slug":3728,"title":3729,"dynasty":1173,"author":2116,"museum":1075,"description":3730,"tags":3731,"thumbUrl":3733,"material":3521,"size":3734,"collection":6,"collections":3735,"showCount":3736,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[1057,1058,1061,1080,1177,1056,1178,1767,2769,1449,2418,1904,3732,2026],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纵101.5厘米，横46.3厘米",[6],52,{"id":282,"slug":3738,"title":3739,"dynasty":1173,"author":3740,"museum":1287,"description":3741,"tags":3742,"thumbUrl":3743,"material":1064,"size":1064,"collection":2093,"collections":3744,"showCount":3736,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 王士祯","此作用笔秀逸清疏，以高远、深远之法铺展丘壑。崖壁层叠开合，飞瀑隐于岩岫之间，暗合空山有声之趣。古木虬曲苍劲，红叶点染出浅淡秋光，枝叶攒簇间尽显老辣笔力。\n\n山坳间亭台错落，有人凭栏闲眺，溪谷板桥通幽，衬出林泉雅寂。淡赭浅青敷色明润柔和，既有宋人丘壑之厚重，又具元人笔墨之灵秀。右上角题字朱印相映成趣，将山居清寂苍润之境晕染开来，尽展寄情林泉的澹泊幽怀，观之如身临秋山静居，尘嚣尽褪。",[1057,1058,1079,1160,1178,1177,1349,1183,1348,2442,1182,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f989d94c9f8c5dbeac298d441a5964a.jpg",[2093,2241,6],{"id":283,"slug":3746,"title":3747,"dynasty":1300,"author":1510,"museum":1287,"description":3748,"tags":3749,"thumbUrl":3750,"material":1098,"size":3751,"collection":6,"collections":3752,"showCount":3736,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhong-ding-wen-shu-fa-wu-chang-shuo-224234","钟鼎文书法","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[1055,1059,1513,1080,1061,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936d07072312c8818810bc720fd43608.jpg","108X57cm",[6],{"id":284,"slug":3754,"title":3755,"dynasty":1173,"author":3756,"museum":1564,"description":3757,"tags":3758,"thumbUrl":3759,"material":1098,"size":3760,"collection":6,"collections":3761,"showCount":3736,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"hua-guan-yin-shu-jin-gang-jing-he-bi-quan-juan-wang-fu-222527","画观音书金刚经合璧全卷","王绂","画卷右侧绘观音画像，观音打坐念经，一旁的童子双手合十；长卷左侧以行楷书写《金钢金》全篇，字体工整温润，雅致平和。王绂，一作芾，又作黻，号九龙山人，明代画家。",[1055,1056,1057,1058,1110,1534,1112,1080,1078,1180,1362,1178,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d6433218fdef685f94add11b08e75.jpg","24.6x78",[6],{"id":285,"slug":3763,"title":3764,"dynasty":1050,"author":3765,"museum":2362,"description":3766,"tags":3767,"thumbUrl":3768,"material":1098,"size":3769,"collection":6,"collections":3770,"showCount":3736,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xie-chang-yuan-zuo-you-zi-jing-ci-wen-tian-xiang-221463","谢昌元座右自警辞","文天祥","谢昌元座右辞卷，全称“文天祥书《谢昌元座右自警辞》”长卷，南宋 书，纸本。\n纵6.7厘米，横5.7厘米。\n草书，71行596字，计（自警辞）正文44行15字，天祥跋文27行281字。\n钤“文天祥氏”朱文印，卷后有王应麟书赞语、元代蒋岩、明代万韫辉、郝智、廖驹、程启充跋文及谢昌元后人谢源小楷书谢昌元《行实》。\n以行书在此卷包首题签“文天祥书谢昌元座右铭。\n内府鉴藏。\n”下钤“神品”、“乾隆宸翰”之印。\n文天祥（126－128），原名云孙，字宋瑞，又字履善，号文山。\n吉州庐陵（今 ）人。\n南宋杰出的民族英雄和爱国诗人。\n宝祐四年（1256）年进士第一，因父丧未受官职。\n开庆 初年（1259）蒙古军攻鄂州（今 ）， 董宋臣请理宗迁都以避敌锋，文天祥上疏请斩董宋臣，以振奋人心，并献御敌之计，未被采纳。\n后历任刑部郎官，知瑞州等职。\n咸淳六年（127），因得罪奸相贾似道而遭到罢斥。\n德祐元年（1275）正月，闻元军东下，文天祥在赣州组织义军，开赴临安（今杭州，当时南宋的京城）。\n次年被任为右丞相兼枢密使。\n其时元军已进逼临安，被派往元营中谈判，遭扣留，押往北就。\n二月底，天祥与其客杜浒等十二人，夜亡入真州。\n复由海路南下，至福建与张世杰、陆秀夫等坚持抗元。\n景炎二年（1277），进兵 ，收复州县多处。\n不久，为元重兵所败，妻子儿女皆被执，将士牺牲甚众，天祥只身逃脱，乃退 继续抗 。\n后因叛徒引元兵袭击，同年十二月，在五坡岭（今广东海丰县）被俘。\n元将张弘范迫其招降张世杰，乃书《 》诗以诉之。\n末句云：“人生自古谁无死，留取丹心照汗青。\n”次年，被押送大都（今北京），囚禁四年，经历种种严酷考验，始终不屈。\n于128年从容就义，年仅47岁。\n文天祥创作了大量的诗、词和散文作品。\n其中诗作达百余首，成就很高。\n有《 》，其中有《过零丁洋》、《正气歌》等千古绝唱。",[1055,1059,1110,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[6],{"id":286,"slug":3772,"title":3773,"dynasty":1073,"author":1074,"museum":3774,"description":3775,"tags":3776,"thumbUrl":3778,"material":3779,"size":3780,"collection":6,"collections":3781,"showCount":3736,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[1055,1058,1110,1060,1059,1080,1062,1251,3777,1178],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[6],{"id":287,"slug":3783,"title":3784,"dynasty":1156,"author":2361,"museum":1531,"description":3785,"tags":3786,"thumbUrl":3787,"material":1082,"size":3788,"collection":6,"collections":3789,"showCount":3736,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","《世说新书》是笔记小说集的一种，为中国六朝时代的南朝刘宋文学家临川王刘义庆（403—444）著，将东汉末年到东晋间名士的言行或逸事，以三十八个部门分别集录，并由南朝梁的文学家刘峻（字孝标，462—521）作注。",[1055,1292,1110,1078,1059,1414,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56aa6c1c5966b809f57b2827d750550.jpg","纵27.1cm，横397.0cm",[6],{"id":288,"slug":3791,"title":3792,"dynasty":1156,"author":1264,"museum":1075,"description":1642,"tags":3793,"thumbUrl":3794,"material":1098,"size":3795,"collection":6,"collections":3796,"showCount":3797,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[1055,1059,1060,1290,1110,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[6,1168],51,{"id":289,"slug":3799,"title":3800,"dynasty":1173,"author":2116,"museum":1052,"description":3801,"tags":3802,"thumbUrl":3803,"material":3804,"size":3805,"collection":6,"collections":3806,"showCount":3797,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[1058,1059,1061,1060,1062,1080,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[6],{"id":290,"slug":3808,"title":3809,"dynasty":1300,"author":3810,"museum":1052,"description":3811,"tags":3812,"thumbUrl":3813,"material":1082,"size":3814,"collection":6,"collections":3815,"showCount":3797,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"li-shu-qi-yan-lian-ruan-yuan-214245","隶书七言联","阮元","此联隶书笔力沉雄如铸鼎，笔画厚拙含金石气，结体端严中见灵动。取法汉隶碑版遗意，却不泥古，每一字若老松盘根，筋骨内蕴。墨色浓淡相济，枯润交错，显书写时从容气度。联语与笔墨交融，兼具学者沉静与书家豪情，对称章法间韵致自生。清代碑学兴盛，此作正是典型体现，观之如临古碑前，朴拙雅正之美扑面而来，尽显传统书法的厚重底蕴与艺术张力，于方寸间藏千年碑版风骨。",[1055,1579,1059,1956,1580,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c39a32dc4ddd725fe7c8d28188b7e89.jpg","124x25",[6],{"id":291,"slug":3817,"title":3818,"dynasty":1156,"author":1651,"museum":1287,"description":3819,"tags":3820,"thumbUrl":3821,"material":1064,"size":1064,"collection":6,"collections":3822,"showCount":3823,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。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”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[1055,1056,1057,1058,1110,1291,1059,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[6],50,{"id":292,"slug":3825,"title":3826,"dynasty":1156,"author":1286,"museum":1075,"description":3827,"tags":3828,"thumbUrl":3829,"material":3163,"size":3830,"collection":6,"collections":3831,"showCount":3823,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[1055,1059,1060,1093,1079,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[6],{"id":293,"slug":3833,"title":3834,"dynasty":1156,"author":1859,"museum":1075,"description":3835,"tags":3836,"thumbUrl":3837,"material":1165,"size":3838,"collection":6,"collections":3839,"showCount":3823,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"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。",[1055,1058,1059,1110,1060,1078,1062,1080,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[6,1168],{"id":294,"slug":3841,"title":3842,"dynasty":1156,"author":1630,"museum":1287,"description":3843,"tags":3844,"thumbUrl":3845,"material":1098,"size":3846,"collection":6,"collections":3847,"showCount":3823,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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。",[1055,1112,1059,1078,1110,1058,1534,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[6,1168],{"id":295,"slug":3849,"title":3850,"dynasty":1156,"author":1205,"museum":1052,"description":3851,"tags":3852,"thumbUrl":3857,"material":1064,"size":3858,"collection":6,"collections":3859,"showCount":3823,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"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》。",[1059,1060,1080,1110,1058,1180,1098,1733,3853,3854,3855,3856],"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",[6,1168],{"id":296,"slug":3861,"title":3862,"dynasty":1173,"author":2116,"museum":1287,"description":3863,"tags":3864,"thumbUrl":3865,"material":1110,"size":3866,"collection":6,"collections":3867,"showCount":3823,"zanCount":1385,"manualWeight":1068,"mainColor":1777},"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[1055,1058,1110,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[6],{"id":297,"slug":3869,"title":3870,"dynasty":1173,"author":2632,"museum":2087,"description":3871,"tags":3872,"thumbUrl":3873,"material":3874,"size":3875,"collection":6,"collections":3876,"showCount":3823,"zanCount":1068,"manualWeight":1068,"mainColor":1064},"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[1055,1059,1058,1110,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 × 21.5厘米",[6],{"id":298,"slug":3878,"title":3879,"dynasty":1300,"author":3880,"museum":1075,"description":3881,"tags":3882,"thumbUrl":3883,"material":1064,"size":1064,"collection":2093,"collections":3884,"showCount":3885,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[1057,1058,1079,1080,1177,1060,1062,1178,1305,2442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[2093,6],49,{"id":299,"slug":3887,"title":3888,"dynasty":1050,"author":1051,"museum":1052,"description":1870,"tags":3889,"thumbUrl":3890,"material":1079,"size":3891,"collection":6,"collections":3892,"showCount":3885,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"shu-qi-yan-jue-ju-ce-huang-ting-jian-221265","书七言绝句册",[1056,1057,1058,1079,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897115f90609f128a729a4ed0cbc97a6.jpg","55.5x82.4",[6],{"id":300,"slug":3894,"title":2977,"dynasty":1173,"author":3895,"museum":3660,"description":3896,"tags":3897,"thumbUrl":3898,"material":1063,"size":1064,"collection":2093,"collections":3899,"showCount":3885,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhou-jin-tang-ji-chen-chun-219893","陈淳","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[1055,1057,1058,1110,1060,1148,1513,1080,1160,1180,1348,1349,1183,1555,1425,2769,1182,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[2093,6],{"id":301,"slug":3901,"title":3902,"dynasty":1156,"author":1264,"museum":3903,"description":3904,"tags":3905,"thumbUrl":3906,"material":1294,"size":3907,"collection":6,"collections":3908,"showCount":3885,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"zang-huai-ke-bei-yan-zhen-qing-214584","臧怀恪碑","西安碑林博物馆","《臧怀恪碑》，全称《唐故右武卫将军赠工部尚书上柱国上蔡县开国侯臧公神道碑铭并序》。篆书题额《唐故东莞臧公神道碑》共9字，立于唐贞观五年（770年），碑文共28行，58-64字。碑文是颜真卿在55岁时写的，石头是由翰林院的秘书李秀岩塑造的。有些字符缺失或无法破译，但仍可辨认。它原本矗立在京兆府三原县长澳乡的臧怀谦墓前，1980年被列入西安碑林。臧怀谦（668-724），唐朝时出生于冀州北乡，是上蔡县的侯爵。开元十二年（724年），他在山城去世，被诏令授予右卫将军的称号。在肃宗时期，由于他的工作，他的儿子臧希章被任命为工部尚书。",[1292,1290,1059,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d0980920130348b86fb8433b1066e6.jpg","337x180",[6],{"id":302,"slug":3910,"title":3911,"dynasty":1300,"author":1510,"museum":1052,"description":3912,"tags":3913,"thumbUrl":3915,"material":1064,"size":1064,"collection":6,"collections":3916,"showCount":3917,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240404","吴昌硕篆书七言联","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[1513,1580,1059,3914,1733],"金石笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddb81776b0d1cf8ba430c1c7fbc09a0.jpg",[6],48,{"id":303,"slug":3919,"title":3920,"dynasty":1300,"author":3921,"museum":1075,"description":3922,"tags":3923,"thumbUrl":3925,"material":1064,"size":1064,"collection":2093,"collections":3926,"showCount":3917,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[1057,1058,1061,1080,1177,1178,1348,1534,1062,3924,1450,1182],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[2093,1189,6],{"id":304,"slug":3928,"title":3929,"dynasty":1300,"author":2821,"museum":1287,"description":2822,"tags":3930,"thumbUrl":3933,"material":1064,"size":1064,"collection":6,"collections":3934,"showCount":3917,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[1057,1061,1161,1160,1700,2824,2236,3931,1062,2235,1182,3932],"盆景","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[6],{"id":305,"slug":3936,"title":3937,"dynasty":1050,"author":1051,"museum":1075,"description":3938,"tags":3939,"thumbUrl":3940,"material":1098,"size":3941,"collection":6,"collections":3942,"showCount":3917,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[1055,1056,1057,1058,1110,1148,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[6],{"id":306,"slug":3944,"title":3945,"dynasty":1050,"author":1051,"museum":1052,"description":1870,"tags":3946,"thumbUrl":3947,"material":1079,"size":3891,"collection":6,"collections":3948,"showCount":3917,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"qi-yan-jue-ju-ce-huang-ting-jian-221266","七言绝句册",[1056,1057,1058,1059,1079,1060,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4004e2b40b7a3cfc60df0bc505f697.jpg",[6],{"id":307,"slug":3950,"title":3951,"dynasty":1173,"author":2116,"museum":1631,"description":3952,"tags":3953,"thumbUrl":3957,"material":3958,"size":3959,"collection":6,"collections":3960,"showCount":3917,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[1055,1057,1058,1110,1080,1178,1177,2614,1059,1060,1062,2197,1450,3540,1349,1183,2198,3954,3955,1182,3956,2771],"村落","小径","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[6],{"id":308,"slug":3962,"title":3963,"dynasty":1300,"author":3094,"museum":1052,"description":3964,"tags":3965,"thumbUrl":3966,"material":1082,"size":3967,"collection":6,"collections":3968,"showCount":3917,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[1055,1056,1057,1058,1061,1060,1059,1080,1062,1178,1825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[6],{"id":309,"slug":3970,"title":3971,"dynasty":1300,"author":3972,"museum":1287,"description":3973,"tags":3974,"thumbUrl":3977,"material":3978,"size":3979,"collection":2093,"collections":3980,"showCount":3981,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[1055,1057,1058,1079,1160,1177,1178,3975,3539,3541,1450,1449,3976,3542,1907],"山峰","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[2093,6,2241],47,{"id":310,"slug":3983,"title":3984,"dynasty":1050,"author":1051,"museum":1075,"description":3985,"tags":3986,"thumbUrl":3987,"material":3988,"size":3989,"collection":6,"collections":3990,"showCount":3981,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[1059,1058,1060,1062,1111,3560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 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轼不及见其人，然少时所 识，一时名卿盛士多推 尊之，尔来前辈凋丧 略尽能称诵 公者渐不复见，得其 理言遗事，皆当记录 宝藏，况其文章乎 公之孙（师仲）录 公之诗廿五篇以示轼三 复太息，以想见 公之大略云，元丰四年十 一月廿四日眉阳苏轼书。",[1055,1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaffe0183d39974fb89480f5b4ed34f.jpg","27.8厘米×60.6厘米",[6],{"id":315,"slug":4023,"title":4024,"dynasty":1050,"author":1133,"museum":1052,"description":4025,"tags":4026,"thumbUrl":4027,"material":1098,"size":4028,"collection":6,"collections":4029,"showCount":3981,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[1055,1059,1060,1062,1058,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[6],{"id":316,"slug":4031,"title":4032,"dynasty":1173,"author":4033,"museum":1122,"description":4034,"tags":4035,"thumbUrl":4036,"material":2617,"size":4037,"collection":1187,"collections":4038,"showCount":3981,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[1055,1173,1057,1058,1110,1160,1161,1060,1059,1062,1180,1348,1425,1450,1182,2931,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[1187,6],{"id":317,"slug":4040,"title":4041,"dynasty":1173,"author":4042,"museum":1052,"description":4043,"tags":4044,"thumbUrl":4045,"material":1082,"size":4046,"collection":6,"collections":4047,"showCount":3981,"zanCount":1385,"manualWeight":1068,"mainColor":1386},"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[1055,1057,1058,1059,1061,1060,1148,1080,2173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[6],{"id":318,"slug":4049,"title":4050,"dynasty":1156,"author":1264,"museum":1075,"description":1642,"tags":4051,"thumbUrl":4052,"material":1098,"size":3795,"collection":6,"collections":4053,"showCount":4054,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zheng-zuo-wei-tie-yan-zhen-qing-221056","争座位帖",[1055,1059,1060,1290,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f31613656912ca6722b669276b4fd.jpg",[6,1168],46,{"id":319,"slug":4056,"title":4057,"dynasty":1050,"author":4058,"museum":1052,"description":4059,"tags":4060,"thumbUrl":4061,"material":1082,"size":4062,"collection":6,"collections":4063,"showCount":4054,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shu-yong-shui-xian-hua-shi-tie-chen-yu-yi-218872","书咏水仙花诗帖","陈与义","此卷有《咏水仙》一诗，希望有朋友为其作诗，《简氏集》也有收录，但文字上有出入。 在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 音释帖刊误。这幅作品的书法风格古拙，风格淡雅，韵味分明，意境悠远。",[1058,1059,1060,1093,1062,2824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66296fa179b324f97dc22acb0bab3d7a.jpg","32.1x41.3",[6],{"id":320,"slug":4065,"title":4066,"dynasty":1300,"author":4067,"museum":1052,"description":4068,"tags":4069,"thumbUrl":4070,"material":1082,"size":4071,"collection":6,"collections":4072,"showCount":4054,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[1055,1579,1059,1060,1061,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[6],{"id":321,"slug":4074,"title":4075,"dynasty":1300,"author":2780,"museum":1075,"description":4076,"tags":4077,"thumbUrl":4079,"material":4080,"size":4081,"collection":6,"collections":4082,"showCount":4083,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[1055,1057,1058,1110,1080,1060,1178,1180,4078,1351,1183],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[6],45,{"id":322,"slug":4085,"title":4086,"dynasty":1050,"author":1445,"museum":1075,"description":4087,"tags":4088,"thumbUrl":4089,"material":4090,"size":4091,"collection":6,"collections":4092,"showCount":4083,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[1055,1057,1056,1110,1058,1060,1080,1177,1062,1555,1183,2442,1180,1178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg","绢本，淡设色","25.9*143cm",[6],{"id":323,"slug":4094,"title":4095,"dynasty":1300,"author":4096,"museum":1287,"description":4097,"tags":4098,"thumbUrl":4099,"material":1064,"size":1064,"collection":1309,"collections":4100,"showCount":4101,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mo-ju-zhou-liang-ding-fen-237469","墨菊轴","梁鼎芬","梁鼎芬（1859—1919），晚清文学家、藏书家、诗人，广东番禺（今广州市）人。字星海，一字心海，又字伯烈，号节庵，别号不回山民、孤庵、病翁、浪游词客、葵霜、藏山、藏叟等；室名有耻堂、葵霜阁、栖凤楼、抗愤堂等。\n光绪六年进士，授编修。历任知府、按察使、布政使，曾因弹劾李鸿章，名震朝野。后应张之洞聘，主讲广东广雅书院和江苏钟山书院，为《昌言报》主笔。辛亥革命前有反帝主战思想。后任爱新觉罗.溥仪的老师，被授予“毓庆宫行走”。诗词多慷慨愤世之作，与罗惇曧等人并称“岭南近代四家”。",[1057,1058,1061,1080,2050,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefe3abfc7a226970d3e72815c667d0.jpg",[1309,6],44,{"id":324,"slug":4103,"title":4104,"dynasty":1050,"author":1133,"museum":1052,"description":4105,"tags":4106,"thumbUrl":4107,"material":1098,"size":4108,"collection":6,"collections":4109,"showCount":4101,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[1055,1059,1058,1110,1060,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[6],{"id":325,"slug":4111,"title":4112,"dynasty":1144,"author":3614,"museum":1075,"description":4113,"tags":4114,"thumbUrl":4115,"material":1290,"size":4116,"collection":6,"collections":4117,"showCount":4101,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"yue-yi-tie-suo-jing-221019","月仪帖","《月仪帖》传为西晋书法家索靖所书，是章草名帖。我们今天见到的是《邻苏园法帖》拓本，纵32厘米。《月仪帖》为书信文例，按月令书写。但传至今日，该拓本已缺四至六月，计18页。\n索靖（239年—303年），字幼安。敦煌龙勒（今甘肃敦煌）人。西晋将领、著名书法家，敦煌五龙之一。索靖善章草，传张芝之法，其书险峻坚劲。其章草书，自名“银钩虿尾”。时人称“瓘得伯英之筋，靖得伯英之肉。”索靖章草自成一家，唐张怀瓘评道“幼安善章草，书出于韦诞，峻险过之，有若山形中裂，水势悬流，云岭孤松，冰河危石，其坚劲则古今不逮。”著有《草书状》等。",[1059,3617,1148,1093,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945befcf89cb49b12f26f8c67c6a1af4.jpg","纵35.56cm，横417.03cm",[6],{"id":326,"slug":4119,"title":4120,"dynasty":1173,"author":2116,"museum":1052,"description":4121,"tags":4122,"thumbUrl":4123,"material":1098,"size":4124,"collection":6,"collections":4125,"showCount":4101,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[1055,1059,1060,1080,1058,1057,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[6],{"id":327,"slug":4127,"title":4128,"dynasty":1073,"author":1074,"museum":2415,"description":4129,"tags":4130,"thumbUrl":4131,"material":4132,"size":4133,"collection":6,"collections":4134,"showCount":4101,"zanCount":1129,"manualWeight":1068,"mainColor":1069},"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[1055,1059,1112,1110,1078,1080,1534,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[6],{"id":328,"slug":4136,"title":4137,"dynasty":1050,"author":2361,"museum":1052,"description":4138,"tags":4139,"thumbUrl":4140,"material":1165,"size":1064,"collection":6,"collections":4141,"showCount":4101,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[1055,1050,1060,1059,1058,1079,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[6],{"id":329,"slug":4143,"title":4144,"dynasty":1300,"author":4145,"museum":1052,"description":4146,"tags":4147,"thumbUrl":4149,"material":1082,"size":4150,"collection":6,"collections":4151,"showCount":4101,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[1055,1300,1059,1060,1061,4148,1080,1062],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[6],{"id":330,"slug":4153,"title":4154,"dynasty":1300,"author":4155,"museum":1075,"description":4156,"tags":4157,"thumbUrl":4158,"material":1307,"size":4159,"collection":2093,"collections":4160,"showCount":4161,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","王鉴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[1057,1058,1080,1177,1178,1767,1772,2769,1449,3541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[2093,1189,6],43,{"id":331,"slug":4163,"title":4164,"dynasty":1173,"author":2116,"museum":1052,"description":4165,"tags":4166,"thumbUrl":4167,"material":1278,"size":4168,"collection":6,"collections":4169,"showCount":4161,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"wu-yan-jue-ju-zhou-dong-qi-chang-220926","五言绝句轴","此展品为明代的书画，此行书五言诗章法疏朗，清淡中见神逸，意趣内涵。\n此辐行书五言诗章法疏朗，清淡中见神逸，意趣内涵，疏淡耐看。\n内容为:“南馆城阴阔,东湖水气多。\n直须台上望,始奈月明何。",[1055,1059,1060,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea3b84dbdc9afd92628ef8ff754513a.jpg","纵238厘米，横63.8厘米",[6],{"id":332,"slug":4171,"title":4172,"dynasty":1073,"author":4173,"museum":1075,"description":4174,"tags":4175,"thumbUrl":4187,"material":1098,"size":4188,"collection":6,"collections":4189,"showCount":4161,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[1055,1061,1059,1060,2002,1062,4176,4177,4178,1095,4179,1351,1305,4180,4181,4182,1251,4183,1767,2768,4184,4185,3258,4186],"孤鹤","瘦骨","苍林","芙蓉","轩","僧","茶烟","柳","门","馆","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[6],{"id":333,"slug":4191,"title":4192,"dynasty":1300,"author":3972,"museum":2415,"description":4193,"tags":4194,"thumbUrl":4195,"material":2617,"size":4196,"collection":6,"collections":4197,"showCount":4161,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-ce-wen-wang-shi-min-220003","山水册-文","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[1057,1058,1079,1060,1062,1291,1178,1160,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg","22.5x27.5",[6],{"id":334,"slug":4199,"title":3507,"dynasty":1173,"author":4200,"museum":1052,"description":4201,"tags":4202,"thumbUrl":4203,"material":1082,"size":4204,"collection":6,"collections":4205,"showCount":4161,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"cao-shu-wu-yan-lian-jin-sheng-214229","金声","草书五言联是明朝时期流行的一种书法形式。这种书法以流畅、柔和的笔法和优美的构图著称。其中“草书”指的是草笔书法，而“五言联”则指的是五个字组成的联句。\n\n明朝时期，草书五言联在宫廷文人和书法家中非常流行。这种书法的特点是，它使用了流畅的笔法和优美的构图，能够表现出精细的细节和丰富的内涵。此外，草书五言联还有一个特点，就是在书写时使用了较大的纸张，以便能够将五个字摆放在较宽的纸面上。\n\n草书五言联虽然流行于明朝时期，但它的影响却一直延续到了现代。许多著名的书法家都曾尝试使用这种书法来表现自己的艺术天赋，并在艺术展览中展出他们的作品。今天，草书五言联仍然是许多中国人所热爱的书法形式之一，并且在国内外均有广泛的收藏爱好者。",[1055,1057,1058,1059,1148,1580,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138e440fe4dca4e8a2f9ad3fe70c9266.jpg","135.2x24.2",[6],{"id":335,"s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董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[1055,1059,1110,1291,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[6],{"id":337,"slug":4224,"title":4225,"dynasty":1073,"author":1074,"museum":1122,"description":4226,"tags":4227,"thumbUrl":4228,"material":1546,"size":4229,"collection":6,"collections":4230,"showCount":4214,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"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。",[1055,1060,1059,1093,1290,1062,1110,1080,1534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[6,1168],{"id":338,"slug":4232,"title":4233,"dynasty":1173,"author":4234,"museum":1075,"description":4235,"tags":4236,"thumbUrl":4248,"material":1082,"size":4249,"collection":6,"collections":4250,"showCount":4214,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[1055,1060,1059,4237,3115,4238,4239,4240,1362,2932,2769,3258,4241,4242,2768,3068,2859,4243,1251,4244,2935,1250,4245,4246,4247],"题诗","章法","结体","山房","藤萝","苍松","田舍","烟","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[6],{"id":339,"slug":4252,"title":4253,"dynasty":1173,"author":4254,"museum":1075,"description":4255,"tags":4256,"thumbUrl":4257,"material":1098,"size":4258,"collection":6,"collections":4259,"showCount":4214,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[1055,1056,1058,1059,1060,1098,1062,3115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[6],{"id":340,"slug":4261,"title":2021,"dynasty":1300,"author":3135,"museum":1052,"description":4262,"tags":4263,"thumbUrl":4264,"material":1082,"size":4265,"collection":6,"collections":4266,"showCount":4214,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-qi-yan-lian-zuo-zong-tang-214242","墨色沉厚如铸铁，笔锋转折间藏锋棱傲骨。线条刚劲却不失流畅，似老将挥戈带千钧力，又若文士吟啸含书卷气。联语既涌少年意气的蓬勃春潮，又蕴老境自惕的清醒襟怀，笔墨与文心浑然相映。两联布局匀整却不死板，字间气脉贯通如行云流水，每一笔都带着书写者的沉雄气度与儒雅风致。整幅作品刚柔相济，既有武将的磊落风骨，又有学者的深醇底蕴，读之如见历史风烟里的身影，笔底春秋皆见性情。",[1055,1579,1060,1580,1059,1058,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad38b3923da1877dd83a984a1b451cf.jpg","166.2x38.7",[6],{"id":341,"slug":4268,"title":4269,"dynasty":1173,"author":4270,"museum":1287,"description":4271,"tags":4272,"thumbUrl":4273,"material":1098,"size":1064,"collection":6,"collections":4274,"showCount":4275,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[1055,1058,1110,1059,1060,1062,1080,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[6],41,{"id":342,"slug":4277,"title":4278,"dynasty":1300,"author":4279,"museum":1287,"description":4280,"tags":4281,"thumbUrl":4283,"material":1064,"size":1064,"collection":1189,"collections":4284,"showCount":4275,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","王翚","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[1056,1057,1058,1061,1080,1160,1592,1362,2236,1556,1059,1062,1161,1177,4282],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[1189,6],{"id":343,"slug":4286,"title":4287,"dynasty":1173,"author":4288,"museum":1287,"description":4289,"tags":4290,"thumbUrl":4294,"material":1098,"size":1064,"collection":2093,"collections":4295,"showCount":4275,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"song-shi-lan-zhi-tu-zhou-wang-gu-xiang-237431","松石兰芝图轴","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。持身峻洁，不妄交一人，有清望。家世名医，性颖敏，善书画古文词。\n王谷祥于嘉靖八年（1529年）登进士第，官至吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不随羲之、献之之风，篆籀八体及摹印，并臻妙品。卒年六十八（生平见《明史·文徵明传》、《吴中往哲像赞》、《姑苏名贤小纪》、《无声诗史》、《艺苑卮言》、《图绘宝鉴续纂》、《名山藏》、《司勋集》、《广印人传》等）。",[1057,1061,1160,1161,1177,2026,1305,4291,4292,4293],"兰草","灵芝","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09eb8dbe0e0bba76c76d97e88eb3b3f.jpg",[2093,2241,6],{"id":344,"slug":4297,"title":4298,"dynasty":1300,"author":4299,"museum":1287,"description":4300,"tags":4301,"thumbUrl":4302,"material":1064,"size":1064,"collection":2093,"collections":4303,"showCount":4275,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[1057,1058,1079,1080,1060,1062,1177,1178,2026,1180,1182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[2093,6],{"id":345,"slug":4305,"title":4306,"dynasty":1050,"author":1849,"museum":1075,"description":4307,"tags":4308,"thumbUrl":4309,"material":1278,"size":4310,"collection":6,"collections":4311,"showCount":4275,"zanCount":1385,"manualWeight":1068,"mainColor":1777},"shou-fu-tie-ye-wu-ju-221205","寿父帖页","吴琚“性嗜书”，学米芾能神似。此帖为其行书代表作之一，乃淳熙末年为官襄阳时谈论宦途境况的一封尺牍。《墨缘汇观》评为“初视之以为米书”。",[1055,1059,1060,1093,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42acbd1c8113c63f546b4b08295fa08c.jpg","纵32.9厘米，横48.9厘米",[6],{"id":346,"slug":4313,"title":4314,"dynasty":1156,"author":1500,"museum":1075,"description":4315,"tags":4316,"thumbUrl":4317,"material":4318,"size":4319,"collection":6,"collections":4320,"showCount":4275,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[1055,1059,1060,1291,1062,1290,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[6],{"id":347,"slug":4322,"title":4323,"dynasty":1300,"author":4324,"museum":1075,"description":4325,"tags":4326,"thumbUrl":4327,"material":4328,"size":4329,"collection":6,"collections":4330,"showCount":4331,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"zhao-meng-fu-da-shi-zan-juan-ai-xin-jue-luo-yong-xing-239982","赵孟頫大士赞卷","爱新觉罗永瑆","释文：\n秉般若。剑推黑暗尽光明。洞然行佛心，令令行如焰。无处凑泊，锋锷未露，天魔胆落。\n明月一圆，清风两袖。笊篱笊篱，虽工莫售。莫信者何，劳心碌碌。譬动水珠，竟无捞摸。\n彼卖鱼者，一钱两尾。踏破指头，白昼见鬼。隐菩萨身，化童女真。非大悲心，着甚死嗔。\n飞鸟拍肩，蹲蹲将及。正未及闲，狂心顿息。天和气薰，小雨沾裳。浮云柳絮，空阔飞扬。师猎得麕，师农得粟。善财无法，礼菩萨足。菩萨不定，前瞻后瞩。汝自问取，白云青竹。\n赵文敏公大士赞。为恒府德斋书。成亲王。\n款署 ：“为恒府德斋书。成亲王。”钤“成亲王”、“诒晋斋印”白文印2方。鉴藏印钤“芸阶姚氏收藏”朱文印。\n外有题签“成哲亲王书赵文敏公大士赞。石雪居士题签”。钤“徐宗浩印”。知此卷曾为徐石雪所藏。\n此作以恭楷录赵孟頫大士赞。用笔清劲峭拔，结字整肃，极见唐人楷法之精绝。",[1059,1078,1110,1062,1534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b807dbacbd0c0949eec6226c73eab8a.jpg","纸本，楷书","纵32.8厘米，横89厘米",[6],40,{"id":348,"slug":4333,"title":4334,"dynasty":1073,"author":4335,"museum":1075,"description":4336,"tags":4337,"thumbUrl":4338,"material":3329,"size":4339,"collection":2093,"collections":4340,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shan-shui-ce-cao-zhi-bai-233170","山水册","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[1057,1058,1079,1080,1177,1178,1767,1825,2769,1425,1349,2026,1182,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[2093,6],{"id":349,"slug":4342,"title":4343,"dynasty":1173,"author":4344,"museum":4345,"description":4346,"tags":4347,"thumbUrl":4348,"material":3804,"size":4349,"collection":6,"collections":4350,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","王铎","无锡市博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[1055,1059,1148,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","纵31cm，横238cm",[6],{"id":350,"slug":4352,"title":4353,"dynasty":1073,"author":4354,"museum":1564,"description":4355,"tags":4356,"thumbUrl":4357,"material":1098,"size":4358,"collection":6,"collections":4359,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[1055,1058,1059,1110,1060,1080,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[6],{"id":351,"slug":4361,"title":4362,"dynasty":1050,"author":1133,"museum":1075,"description":4363,"tags":4364,"thumbUrl":4365,"material":1098,"size":4366,"collection":6,"collections":4367,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[1058,1059,1060,1080,1062,1093,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[6],{"id":352,"slug":4369,"title":1916,"dynasty":1050,"author":1133,"museum":1052,"description":4370,"tags":4371,"thumbUrl":4372,"material":4373,"size":4374,"collection":6,"collections":4375,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"du-hai-tie-su-shi-221311","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[1056,1057,1058,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[6],{"id":353,"slug":4377,"title":4378,"dynasty":1050,"author":1133,"museum":1287,"description":4379,"tags":4380,"thumbUrl":4381,"material":1098,"size":1064,"collection":6,"collections":4382,"showCount":4331,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[1055,1059,1060,1110,1093,1058,1080,1062,1180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[6],{"id":354,"slug":4384,"title":4385,"dynasty":1156,"author":2361,"museum":1075,"description":4386,"tags":4387,"thumbUrl":4389,"material":1064,"size":4390,"collection":6,"collections":4391,"showCount":4331,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"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。",[1055,1534,1059,1112,1078,4388,1110,1414],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[6,1168],{"id":355,"slug":4393,"title":4394,"dynasty":1173,"author":2116,"museum":1075,"description":4395,"tags":4396,"thumbUrl":4397,"material":4398,"size":4399,"collection":6,"collections":4400,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-qi-chang-qi-jue-shi-zhou-dong-qi-chang-240412","董其昌七绝诗轴","释文： 水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[6],39,{"id":356,"slug":4403,"title":4404,"dynasty":1173,"author":2022,"museum":1287,"description":4405,"tags":4406,"thumbUrl":4407,"material":1098,"size":1064,"collection":6,"collections":4408,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[1055,1056,1057,1058,1110,1059,1148,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[6],{"id":357,"slug":4410,"title":4411,"dynasty":1144,"author":4412,"museum":1075,"description":4413,"tags":4414,"thumbUrl":4415,"material":1098,"size":4416,"collection":6,"collections":4417,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","陆机","草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[1059,1148,1110,1062,1093,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[6],{"id":358,"slug":4419,"title":4420,"dynasty":1144,"author":1489,"museum":1075,"description":4421,"tags":4422,"thumbUrl":4423,"material":1098,"size":1494,"collection":6,"collections":4424,"showCount":4401,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[1055,1056,1057,1058,1110,1148,1059,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[6],{"id":359,"slug":4426,"title":4427,"dynasty":1300,"author":3536,"museum":1287,"description":4428,"tags":4429,"thumbUrl":4430,"material":1064,"size":1064,"collection":2093,"collections":4431,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-zhou-kun-can-236915","山水轴","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[1057,1080,1177,1061,1059,1062,1178,1348,1182,1450,3955,2771,1906,2198,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[2093,1189,6],{"id":360,"slug":4433,"title":4434,"dynasty":1300,"author":1301,"museum":1287,"description":1302,"tags":4435,"thumbUrl":4436,"material":1220,"size":1064,"collection":6,"collections":4437,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[1055,1057,1058,1061,1080,1362,1305,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[6],{"id":361,"slug":4439,"title":4440,"dynasty":1173,"author":4344,"museum":1564,"description":4346,"tags":4441,"thumbUrl":4442,"material":1098,"size":4443,"collection":6,"collections":4444,"showCount":4401,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖",[1055,1059,1148,1291,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[6],{"id":362,"slug":4446,"title":1934,"dynasty":1173,"author":1601,"museum":1936,"description":4447,"tags":4448,"thumbUrl":4449,"material":1098,"size":4450,"collection":6,"collections":4451,"showCount":4401,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"teng-wang-ge-xu-zhu-yun-ming-222476","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[1055,1060,1059,1110,1062,1080,1093,1058,1555,1348,1178,1350,1792,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[6],{"id":363,"slug":4453,"title":4454,"dynasty":1050,"author":2185,"museum":1052,"description":4455,"tags":4456,"thumbUrl":4457,"material":1098,"size":4458,"collection":6,"collections":4459,"showCount":4401,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-chi-du-lu-you-221193","书尺牍","陆游（1125—1210），字务观，号放翁，绍兴人。自幼好学不倦，29岁时，赴南宋临安（杭州）应锁厅试，名列第一，因居秦桧孙子之前，又因他不忘国耻“喜论恢复”，竟在复试时被除名。他始终坚持抗金恢复中原，在仕途上不断受到当权派的排斥打击。中年入蜀抗金，任夔州（今四川奉节）通判和蜀州、嘉州、荣州代理通判、知州等职。宋光宗继位后，升为礼部郎中兼实录院检讨官，不久即因“嘲咏风月”罢官归居故里。主要著作有《渭南文集》《剑南诗稿》《放翁词》《南唐书》《老学庵笔记》。",[1059,1060,1080,1098,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1722258b27ccb271c6c41ad7f642de.jpg","40.5x70.7",[6],{"id":364,"slug":4461,"title":4462,"dynasty":1173,"author":2116,"museum":1052,"description":4463,"tags":4464,"thumbUrl":4465,"material":1098,"size":4466,"collection":6,"collections":4467,"showCount":4401,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"chi-du-shang-ce-dong-qi-chang-220922","尺牍上册","明代董其昌行书临东坡尺牍册，纵25厘米；横14.1厘米，万历四十年（1612）书，上海博物馆藏。\n本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[1055,1059,1060,1079,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04668bd94745352a74901f084f5ebd.jpg","35.7x42.3",[6],{"id":365,"slug":4469,"title":4470,"dynasty":1300,"author":4471,"museum":4472,"description":4473,"tags":4474,"thumbUrl":4475,"material":1098,"size":1064,"collection":6,"collections":4476,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"lan-ting-xu-zhou-li-xiao-dong-240476","兰亭叙轴","李晓东","北京市天佑兰亭书法文化博物馆","此作用笔灵动秀雅，提按转合间尽显温润圆融，既留存原作萧散疏朗的风神，又自蕴朴拙安和的意趣。结体错落随性，章法匀净舒朗，墨色浓淡过渡自然，将原文俯仰叹惋的幽情藏于笔墨间。字里行间既有放浪形骸的疏逸，也饱含对死生之感的沉郁喟叹，以笔底意绪呼应文辞情志，尽显帖学一脉的雅致风神，是兼具笔墨意趣与文心共情的临摹佳构。",[1300,1061,1060,1059,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5197642058bb296752108d07d2d8a24f.jpg",[6],38,{"id":366,"slug":4479,"title":3169,"dynasty":2255,"author":2256,"museum":1075,"description":4480,"tags":4481,"thumbUrl":4482,"material":1493,"size":3173,"collection":6,"collections":4483,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shen-xian-qi-ju-fa-juan-yang-ning-shi-239562","《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。\n明朱存理《铁網珊瑚》、都穆《寓意编》、张丑《清河书画舫》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》、吴升《大观录》、清内府《石渠宝笈·三编》、胡敬《西清札记》等书有著录。",[1055,1058,1110,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e237cc505d706730d135436a94e02b.jpg",[6],{"id":367,"slug":4485,"title":4486,"dynasty":1173,"author":4487,"museum":1075,"description":4488,"tags":4489,"thumbUrl":4490,"material":3521,"size":4491,"collection":2093,"collections":4492,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","项圣谟","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[1057,1058,1061,1291,1177,1080,1060,1178,1767,2769,1305,1449,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[2093,6],{"id":368,"slug":4494,"title":4495,"dynasty":1300,"author":4279,"museum":1075,"description":4496,"tags":4497,"thumbUrl":4498,"material":1064,"size":1064,"collection":2093,"collections":4499,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[1057,1061,1080,1177,1291,1178,2026,3408,1182,1183,1350,1349,1305,2442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[2093,1189,6],{"id":369,"slug":4501,"title":4502,"dynasty":1300,"author":4503,"museum":1287,"description":4504,"tags":4505,"thumbUrl":4507,"material":1098,"size":4508,"collection":6,"collections":4509,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[1055,1579,1058,4506,1060,1080,1062],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[6],{"id":370,"slug":4511,"title":4512,"dynasty":1050,"author":3765,"museum":1564,"description":4513,"tags":4514,"thumbUrl":4515,"material":4516,"size":4517,"collection":6,"collections":4518,"showCount":4477,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mu-ji-ji-xu-wen-tian-xiang-221461","木鸡集序","文天祥（一二三六——一二八二），为有宋一代名臣。吉州吉水人。字宋瑞，又字履善，号文山。年二十八岁时举进士，理宗亲拔为第一。考官王应麟对他考卷的评价是：[是卷古谊若龟鉴，忠肝如铁石，臣敢为得人贺。]文天祥后来落入敌手，宁死不屈的经历也确实证明了王应麟是一位有远见的考官。\n文天祥书法宗法二王，以《圣教序》为蓝本，参之以米芾的部分结字，在运笔中则以黄山谷悠扬笔致为指归，笔画粗细变化不大，但注意在布置安排中的疏密变化，观其作品仿佛有一股清泉在流溢，秀逸并富文人气息。\n对宋四家的开拓创新，自朱熹开始，不少人依然是特反对态度的，于是便出现了返归二王正尝的呼声，文天祥无疑是站在这一立场上的。但是，每位书家都难以摆脱一些优秀书家的影响，所以，尽管如此，文天祥或多或少受到宋四家影响。文天祥的这件作品点画精劲微妙，轻起轻落，显得清疏挺竦，有一股神逸癯然的姿态。在结字中他很注意留空，所以，他的每个字的结构显得十分空灵，即便在字与字的连结上，依然是以气势连贯为主，而不强调笔画之间的连带，另外，他将每个字的重心压得较低，故字显得沉稳而有姿态，这无疑是受了米芾的影响。在书写速度上，显得不疾不缓，雍容不迫，颇有大家的风范。\n他的这种笔画及行气的处理方式，可能是与他采用篆法与章草的方法有关，因为，他对于这两种字体，看来也并不陌生，所以，我们可以肯定地说，文天祥在书法上是比较向往魏晋以上的古朴书风的。\n从整个宋代的书法格局来看，文天祥书法并不占很重要的位置，然而，由于其刚正不阿的品性，为后代读书人确立了一个榜样，古人常把人品与书品联系起来，所以在后人的评价中也基本上是出于这一立场。如明王鏊说：[公之精忠大节，焯焯天地间，而字画精妙，虽纸墨之微，亦皆不苟。]这是说他处事为人端严不苟。而明李时勉则是由字仰见其人了：[观公札子，其忠正之气，凛然见于言词之间，俯仰概慕之余，若将见之。]这些对于通过学习书法来提高自己的品德修养，都不无借鉴和警戒的意义。",[1055,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e23c04ce51184fe7d6f62aca85de72f.jpg","纸本 草书","纵24.5厘米 横96.5厘米",[6],{"id":371,"slug":4520,"title":4521,"dynasty":1173,"author":2116,"museum":1564,"description":4522,"tags":4523,"thumbUrl":4524,"material":1078,"size":4525,"collection":6,"collections":4526,"showCount":4477,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"qin-zheng-li-xue-zhen-dong-qi-chang-220907","勤政励学箴","以进士官至礼部尚书，富收藏，精鉴赏，为明代晚期的画坛领袖，松江画派的创立者。\n书画集历代名家之长，各有新创，并以“南北宗”理论，对清代艺坛产生了重要影响。\n董其昌书法创作以行草最多，造诣最高，然其楷书造诣颇深、具相当功力。\n此卷是其楷书中的精湛之作，传达出淡雅萧散的逸韵。",[1055,1059,1060,1061,1098,1733,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8217a2ea94d85fd4a984c4058d02b43b.jpg","纵214.5厘米，横61.8厘米",[6],{"id":372,"slug":4528,"title":4529,"dynasty":1073,"author":1074,"museum":1075,"description":4530,"tags":4531,"thumbUrl":4532,"material":1098,"size":4533,"collection":6,"collections":4534,"showCount":4535,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"xu-qian-zi-wen-juan-zhao-meng-fu-239598","续千字文卷","赵孟頫是元代的著名诗人、画家、楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫开创了元代新画风，被称为“元人冠冕”，他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[1055,1059,1060,1110,1080,1098,1093,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cc1e190189297105c44a223a0fe295.jpg","24.3×153.3cm",[6],37,{"id":373,"slug":4537,"title":4538,"dynasty":1300,"author":4539,"museum":1075,"description":4540,"tags":4541,"thumbUrl":4542,"material":1098,"size":1064,"collection":2093,"collections":4543,"showCount":4535,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","石涛","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[1057,1058,1061,1567,1080,1177,1178,1449,1450,2026,1182,1183,1180,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[2093,6],{"id":374,"slug":4545,"title":4546,"dynasty":1300,"author":4547,"museum":1075,"description":4548,"tags":4549,"thumbUrl":4552,"material":3329,"size":4553,"collection":1309,"collections":4554,"showCount":4535,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","华嵒","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[1057,1061,1080,1160,1448,1180,4550,4183,1305,2769,4551],"美人","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg","纵82厘米，横32.2厘米",[1309,1189,6],{"id":375,"slug":4556,"title":4557,"dynasty":1156,"author":4558,"museum":1287,"description":4559,"tags":4560,"thumbUrl":4562,"material":2669,"size":2815,"collection":6,"collections":4563,"showCount":4535,"zanCount":1385,"manualWeight":1068,"mainColor":2923},"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-5-juan-yi-jing-227257","紫纸金字金光明最胜王经共10卷第5卷","义净","据传本来是安置在备后国（今广岛县）的国分寺，十卷完整地保存下来，其金字至今依然灿烂发光与紫纸相互辉映，充满着气韵与品格，不愧为天平时代写经的绝品",[1059,1112,1110,1534,1078,4561,1098,1414],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd032e841b50ef732e6315ca3dcc94cc0.jpg",[6],{"id":376,"slug":4565,"title":4566,"dynasty":1300,"author":4567,"museum":1631,"description":4568,"tags":4569,"thumbUrl":4571,"material":4572,"size":4573,"collection":6,"collections":4574,"showCount":4535,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[1055,1057,1058,1079,1080,1160,1178,1060,1177,1183,2197,1450,2870,1449,4570],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","水墨设色","31.8x24.8cm",[6,2093],{"id":377,"slug":4576,"title":4577,"dynasty":1073,"author":4578,"museum":1075,"description":4579,"tags":4580,"thumbUrl":4581,"material":4582,"size":4583,"collection":6,"collections":4584,"showCount":4535,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"bo-ya-gu-qin-bai-miao-quan-juan-wang-zhen-peng-221851","伯牙鼓琴白描全卷","王振鹏","这是一幅人物故事画，画中的故事最早见于《吕氏春秋》一书。画的是俞伯牙与钟子期两位知心朋友之间的深厚友谊。画面上共有五人，左边是伯牙，他面目清秀，蓄长髯，披衣敞怀，端坐石上，双手抚琴。伯牙的对面是子期，也坐在石上，身着长袍，低头静心谛听。两人的身后共有侍童三人站立。作者用生动、准确的笔墨刻划了两个主要人物的外形特征和内心活动，弹琴者的专注，听琴者的入神，都跃然绢上。为了衬托两个主要人物，作者还安排了三个侍童，并借用次要人物的不同反应来表达伯牙和子期之间用琴声传递感情并成为“知音”的友谊。这幅画在人物心理活动的描绘上达到了很高的水平。\n在绘画技法上画家王振朋很好地继承了北宋李公麟的“白描”画法，线条挺拔有力，富有弹性，既连绵不断，又有轻重、粗细、缓急、顿挫的变化。画中部分衣帽用淡墨渲染，石块略加皴擦，这些丰富而简洁的表现手法使画面有变化而又含蓄，明快又不显单调。\n此图最右边略有残缺。根据画上所钤印章可知，该图在元朝时为鲁国大长公主祥哥剌吉（元仁宗之姐）收藏，清初归著名收藏家梁清标所有，乾隆时入内府，著录于《石渠宝笈·初编》。",[1055,1057,1058,1110,1448,1180,2061,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b0e1456c709b4afc321f3126a2f0f.jpg","绢本，水墨","纵31.4厘米，横92厘米",[6],{"id":378,"slug":4586,"title":4587,"dynasty":1050,"author":4588,"museum":1287,"description":4589,"tags":4590,"thumbUrl":4591,"material":4592,"size":4593,"collection":6,"collections":4594,"showCount":4535,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"mo-mei-tu-juan-wang-yan-sou-221447","墨梅图卷","王严叟","此作用淡墨铺陈枝梢，浓墨勒就老干，冰梅错落点缀枝间，清瘦疏朗，将冬梅凌霜独放的冷峭风骨尽显。水墨晕染极简却意韵悠长，寥寥数笔便勾勒出寒梅孤高清雅之姿。\n全卷书画合璧，后随行书题咏，笔致萧散跌宕，与画中梅枝交相呼应，诗画相融，尽显宋时文人以梅寄情、托物言志的清雅意趣。",[1055,1057,1058,1110,1080,2236,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3709fa9b3144c90f5b83acbe6ae1023.jpg","绢布","26.9X161厘米",[6],{"id":379,"slug":4596,"title":4597,"dynasty":1173,"author":2116,"museum":4218,"description":4598,"tags":4599,"thumbUrl":4600,"material":4601,"size":4602,"collection":6,"collections":4603,"showCount":4535,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"jiu-de-song-dong-qi-chang-220965","酒德颂","此卷书法用笔遒劲，布白疏朗。\n《酒德颂》是魏晋诗人刘伶创作的一篇骈文。",[1055,1056,1057,1058,1110,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff956fce687948e21143d27e5aa04e021.jpg","行书，绢本","纵24.5厘米，横245.7厘米",[6],{"id":380,"slug":4605,"title":4606,"dynasty":1173,"author":2116,"museum":1075,"description":4607,"tags":4608,"thumbUrl":4609,"material":1220,"size":4610,"collection":6,"collections":4611,"showCount":4535,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-shi-dong-qi-chang-220963","七律诗","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[1055,1056,1057,1058,1110,1060,1059,1062,1160,2236,1362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[6],{"id":381,"slug":4613,"title":4614,"dynasty":1300,"author":4615,"museum":1075,"description":4616,"tags":4617,"thumbUrl":4618,"material":3804,"size":4619,"collection":6,"collections":4620,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fu-shan-lin-tie-zhou-fu-shan-241152","傅山临帖轴","傅山","此轴为傅山临王羲之《阔转久帖》，略有删节。\n释文：阔转久，劳想豈舍。知足下常同之。卒未近缘。如何，数令知问。羲之。真山临。\n款署“真山临”，下钤“傅山印”。左下角钤“任伯显鉴赏章”。\n此帖书法率意潇洒，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其拘束而挥洒自如，结字用笔皆出己意。于古帖师其意，法其态，得其大略，通幅观之，法度自蕴其中，显示出恢宏逸宕的气度。",[1059,1148,1291,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb93e15566937083bd854701f9428ea7.jpg","纵162.2厘米，横44厘米",[6],36,{"id":382,"slug":4623,"title":4624,"dynasty":1173,"author":4625,"museum":1287,"description":4626,"tags":4627,"thumbUrl":4628,"material":1064,"size":1064,"collection":6,"collections":4629,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"song-xu-ju-shi-zhou-song-xu-239226","宋旭菊石轴","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[1057,1058,1061,2173,1160,1177,1305,2050,3495,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d509212452eb2f4f3e429a23d830191.jpg",[6],{"id":383,"slug":4631,"title":4632,"dynasty":1300,"author":1510,"museum":1287,"description":4633,"tags":4634,"thumbUrl":4635,"material":1064,"size":1064,"collection":1309,"collections":4636,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[1057,1058,1061,1056,1567,1080,1160,1305,2824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[1309,1189,6],{"id":384,"slug":4638,"title":4639,"dynasty":1173,"author":2116,"museum":1564,"description":4640,"tags":4641,"thumbUrl":4642,"material":1098,"size":4643,"collection":6,"collections":4644,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lei-gao-ben-juan-dong-qi-chang-220953","勒稿本卷","《楷书勒搞本卷》是董其昌亲笔书写的明朝万历皇帝对其父母、妻子封赏的诏书。卷首有乾隆御笔题跋,原收入清宫《石渠宝笈》。董其昌楷书《楷书勒搞本卷》为高丽笺纸乌丝栏格楷书告身二通,装裱成一卷，前段为追封其父董汉儒、母沈氏告身,后段为封董其昌本人及夫人龚氏等告身。前者书于明万历二十四年(1596)闰八月二十四日,后者书同年同月二十八日,二者仅隔四天。引首有乾隆长题,讲述诰封产生及演变。",[1059,1060,1110,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3055e911536ebd4bd7921f02a8f218cf.jpg","横4143cm,纵26.8cm",[6],{"id":385,"slug":4646,"title":4647,"dynasty":1173,"author":4648,"museum":1075,"description":4649,"tags":4650,"thumbUrl":4651,"material":1098,"size":4652,"collection":6,"collections":4653,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-yang-jian-tie-ye-liu-jue-219146","行书·仰间帖页","刘珏","此帖书法类赵孟頫，结体圆健规整，用笔娴熟、洒脱、颖秀，笔画之间连带自然且行气酣畅淋漓，这与他曾经提到朋友所赠之华丽笺纸的愉悦心境是分不开的。",[1055,1056,1057,1058,1079,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f590e552490dec8731a0a67301c8ea6.jpg","纵27.9厘米，横42厘米",[6],{"id":386,"slug":4655,"title":4656,"dynasty":1300,"author":4657,"museum":1287,"description":4658,"tags":4659,"thumbUrl":4660,"material":1080,"size":4661,"collection":6,"collections":4662,"showCount":4621,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[1055,1058,1110,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[6],{"id":387,"slug":4664,"title":4665,"dynasty":1300,"author":2780,"museum":1075,"description":4666,"tags":4667,"thumbUrl":4668,"material":1064,"size":4669,"collection":6,"collections":4670,"showCount":4671,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[1579,1058,1059,1060,1079,2013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[6],35,{"id":388,"slug":4673,"title":4674,"dynasty":1300,"author":4675,"museum":1287,"description":4676,"tags":4677,"thumbUrl":4678,"material":1098,"size":4679,"collection":1309,"collections":4680,"showCount":4671,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-hui-zhou-chen-shu-238972","花卉轴","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[1057,1058,1061,1160,1080,2235,4186,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[1309,6],{"id":389,"slug":4682,"title":4683,"dynasty":1300,"author":4539,"museum":1287,"description":4684,"tags":4685,"thumbUrl":4686,"material":1064,"size":1064,"collection":1189,"collections":4687,"showCount":4671,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930","原济墨竹图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[1057,1058,1061,1080,1362,1059,1062,1567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[1189,6],{"id":390,"slug":4689,"title":1059,"dynasty":1300,"author":1301,"museum":1287,"description":1302,"tags":4690,"thumbUrl":4691,"material":1098,"size":1064,"collection":6,"collections":4692,"showCount":4671,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-fa-zheng-ban-qiao-223291",[1055,1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[6],{"id":391,"slug":4694,"title":4695,"dynasty":1050,"author":3047,"museum":1075,"description":4696,"tags":4697,"thumbUrl":4698,"material":1098,"size":4699,"collection":6,"collections":4700,"showCount":4671,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[1055,1058,1059,1060,1110,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[6],{"id":392,"slug":4702,"title":4703,"dynasty":1073,"author":1074,"museum":1075,"description":4704,"tags":4705,"thumbUrl":4706,"material":1098,"size":4707,"collection":6,"collections":4708,"showCount":4671,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"zi-shu-shi-tie-zhao-meng-fu-220873","自书诗帖","书此帖时赵孟坚年六十一岁，是赵氏晚年之笔，笔力雄健，纵逸豪放，有黄庭坚书风。而结体瘦劲，中宫紧结欹侧俯仰之势则师法米芾，自有标度，为其书法代表作。\n旧传宋亡不仕，隐居广陈(今平湖市广陈镇北)。县令往访，孟坚飞舟逸去，县令叹息说“名可闻，身不可见”。从弟孟頫宋亡仕元，自湖州来访，闭门不纳。《芦川竹枝词》中《子固见弟诗》云：“南渡王孙此隐居，踵门贵客枉停车。当年介弟犹坚拒，座上那堪受浊污。”与陶菊隐、殷澄并称“秀州三义”。据近代学者考证，赵孟坚逝于宋亡前10余年，所谓宋亡不仕及拒见赵孟頫事不实。\n《宋人轶事汇编》载：赵孟坚入元以后，不乐仕进，隐居州之广陈镇（古海盐县，今平湖市广陈镇北）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”",[1073,1059,1060,1093,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6866225e40ebc88ad1c158c9034d8734.jpg","纵28.8厘米，横216.7厘米",[6],{"id":393,"slug":4710,"title":4711,"dynasty":1173,"author":3895,"museum":1075,"description":4712,"tags":4713,"thumbUrl":4714,"material":1098,"size":1064,"collection":6,"collections":4715,"showCount":4716,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"yue-yang-lou-ji-juan-chen-chun-240900","岳阳楼记卷","陈淳（1483—1544），字道复，后以字行，号白阳山人。吴（今江苏苏州）人。文徵明弟子，擅长山水、花鸟，中年以后，笔墨放纵，自成一家。与稍后的徐谓并称“青藤白阳”。",[1059,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2085250d0b01a6a315db1aad136ce.jpg",[6],34,{"id":394,"slug":4718,"title":4719,"dynasty":1300,"author":4155,"museum":1075,"description":4720,"tags":4721,"thumbUrl":4724,"material":3521,"size":4725,"collection":2093,"collections":4726,"showCount":4716,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[1057,4722,1080,1061,1177,1767,1825,1450,3542,2615,2198,3540,3541,4723],"山水画","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[2093,1189,6],{"id":395,"slug":4728,"title":3041,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":4729,"thumbUrl":4730,"material":1098,"size":1064,"collection":6,"collections":4731,"showCount":4716,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shou-gao-hong-yi-fa-shi-223270",[1055,1058,1059,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[6],{"id":396,"slug":4733,"title":4734,"dynasty":1156,"author":4735,"museum":1287,"description":4736,"tags":4737,"thumbUrl":4738,"material":4739,"size":4740,"collection":6,"collections":4741,"showCount":4716,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"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。",[1055,1290,1059,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[6,1168],{"id":397,"slug":4743,"title":4744,"dynasty":1073,"author":1074,"museum":1052,"description":4745,"tags":4746,"thumbUrl":4747,"material":1220,"size":4748,"collection":6,"collections":4749,"showCount":4716,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[1058,1059,1060,1062,1919,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg","纵27.5厘米，横62.8厘米",[6],{"id":398,"slug":4751,"title":4752,"dynasty":1173,"author":4344,"museum":1287,"description":4753,"tags":4754,"thumbUrl":4755,"material":1098,"size":1064,"collection":6,"collections":4756,"showCount":4757,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[2173,1059,1058,1061,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[6],33,{"id":399,"slug":4759,"title":4760,"dynasty":1050,"author":1133,"museum":1287,"description":4761,"tags":4762,"thumbUrl":4763,"material":1064,"size":1064,"collection":6,"collections":4764,"showCount":4757,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[1110,1060,1059,1062,1058,1451,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[6],{"id":400,"slug":4766,"title":4767,"dynasty":1300,"author":4768,"museum":1075,"description":4769,"tags":4770,"thumbUrl":4771,"material":3329,"size":4772,"collection":6,"collections":4773,"showCount":4757,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-qiao-tu-ce-zhuang-zhou-ren-yi-237137","乞巧图册装轴","任颐","此幅描绘的是民间女子简朴的乞巧场景。任颐（1839-1896），初名润，字伯年。其父任声鹤为民间肖像画家，大伯父为任熊，二伯父为任薰，自幼善画，受民间版画影响深刻。1854-1855年，十五六歳时在上海卖画，模仿任熊作品沿街出卖，恰逢任熊路过，非但不怒，反而赏识其才华，招为弟子，传为逸话。1861年，太平天国进入绍兴时，父卒。曾被招入太平天国军当旗手战时麾之，以为前驱。其后天京（太平天国首都南京）陷落，返乡。1895年因资产丢失之痛及吸食鸦片引发肺炎而死。\n画风在练习铅笔速写后变得较为奔逸，晚年吸收华岩笔意，更简逸灵活。\n任伯年花鸟画的技巧更高，但人物画影响较大，原因大致是当时画人物画家少。",[1057,1058,1079,1160,1180,4550,1161,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb981087f212936d0f96ab20398dbf4.jpg","34.5×34.5cm",[6],{"id":401,"slug":4775,"title":4776,"dynasty":1173,"author":4344,"museum":1075,"description":4777,"tags":4778,"thumbUrl":4779,"material":1546,"size":4780,"collection":2093,"collections":4781,"showCount":4757,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[1057,1058,1061,1080,1177,1178,3975,1450,3541,2198,3542,4723,2197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[2093,6],{"id":402,"slug":4783,"title":4334,"dynasty":1300,"author":4784,"museum":1287,"description":4785,"tags":4786,"thumbUrl":4788,"material":2669,"size":2815,"collection":2093,"collections":4789,"showCount":4757,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-ce-wang-yuan-qi-236859","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[1057,1058,1079,1080,1177,1178,1767,1450,4787,1183],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[2093,6],{"id":403,"slug":4791,"title":4792,"dynasty":1173,"author":1601,"museum":1564,"description":4793,"tags":4794,"thumbUrl":4795,"material":1064,"size":4796,"collection":6,"collections":4797,"showCount":4757,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"du-fu-qiu-xing-ba-shou-zhi-yi-kun-ming-chi-shui-zhu-yun-ming-222475","杜甫秋兴八首之一昆明池水","释文：昆明池水汉时功，武帝旌旗在眼中。织女机丝虚夜月，石鲸鳞甲动秋风。波飘菰米 沉云黑,露冷莲房坠粉红。 关塞极天惟鸟道,江湖满地一渔翁 枝山",[1055,1059,1058,1148,1080,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 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[54] －1850年11月22日），字元撫，又字少穆、石麟，晚號俟村老人、俟村退叟、七十二峯退叟、瓶泉居士、櫟社散人等 ，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[1300,1059,1060,1291,1080,1098,4829,1062,1058,1057],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[6],32,{"id":408,"slug":4834,"title":4835,"dynasty":1173,"author":4836,"museum":1287,"description":4837,"tags":4838,"thumbUrl":4839,"material":1064,"size":1064,"collection":6,"collections":4840,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lan-hua-zhou-chen-yuan-su-237692","兰花轴","陈元素","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[1057,1058,1061,1080,1304,1059,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[6],{"id":409,"slug":4842,"title":4843,"dynasty":1300,"author":4844,"museum":1287,"description":4845,"tags":4846,"thumbUrl":4847,"material":1064,"size":1064,"collection":1309,"collections":4848,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[1057,1058,1056,1079,1080,1095,2569,3400,2235,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[1309,1189,6],{"id":410,"slug":4850,"title":4851,"dynasty":1173,"author":2632,"museum":1899,"description":3353,"tags":4852,"thumbUrl":4853,"material":1098,"size":4854,"collection":6,"collections":4855,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷",[1055,1059,1060,1110,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[6],{"id":411,"slug":4857,"title":4858,"dynasty":1173,"author":2632,"museum":1287,"description":4859,"tags":4860,"thumbUrl":4861,"material":1098,"size":4862,"collection":6,"collections":4863,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[1055,1056,1057,1058,1110,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[6],{"id":412,"slug":4865,"title":4866,"dynasty":1073,"author":4867,"museum":1122,"description":4868,"tags":4869,"thumbUrl":4870,"material":1098,"size":4871,"collection":6,"collections":4872,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","杨维桢","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[1055,1056,1057,1058,1110,1059,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[6],{"id":413,"slug":4874,"title":4875,"dynasty":1144,"author":1145,"museum":1052,"description":4876,"tags":4877,"thumbUrl":4878,"material":1064,"size":4879,"collection":6,"collections":4880,"showCount":4832,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"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。",[1059,1060,1290,1093,1058,1056,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[6,1168],{"id":414,"slug":4882,"title":3177,"dynasty":1156,"author":1859,"museum":1075,"description":4883,"tags":4884,"thumbUrl":4885,"material":1278,"size":3181,"collection":6,"collections":4886,"showCount":4887,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"meng-zhao-tie-juan-liu-gong-quan-239570","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。",[1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e336129e2c0fb37f0eb11ef2d3893f.jpg",[6],31,{"id":415,"slug":4889,"title":4890,"dynasty":1300,"author":4279,"museum":1287,"description":4280,"tags":4891,"thumbUrl":4892,"material":1064,"size":1064,"collection":2093,"collections":4893,"showCount":4887,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602","王翚仿古山水册",[1057,1058,1079,1080,1177,1291,1060,1062,1178,1182,3539,1450,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[2093,6],{"id":416,"slug":4895,"title":4896,"dynasty":2255,"author":4897,"museum":1899,"description":4898,"tags":4899,"thumbUrl":4900,"material":4901,"size":4902,"collection":6,"collections":4903,"showCount":4887,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[1055,1057,1058,1110,1160,1180,1451,1161,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[6],{"id":417,"slug":4905,"title":4906,"dynasty":4907,"author":2361,"museum":4908,"description":4909,"tags":4910,"thumbUrl":4911,"material":1098,"size":4912,"collection":6,"collections":4913,"showCount":4887,"zanCount":1223,"manualWeight":1068,"mainColor":1103},"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","不详","美国弗瑞尔美术馆","该卷经文用笔犀利\n行笔淋漓尽致",[1055,1112,1059,1078,1110,1534,1414,1062,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[6],{"id":418,"slug":4915,"title":4916,"dynasty":1300,"author":4615,"museum":4917,"description":4918,"tags":4919,"thumbUrl":4920,"material":3804,"size":4921,"collection":6,"collections":4922,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-gu-zhou-fu-shan-241028","五古轴","山西晋祠博物馆","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 [2] ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[1059,1148,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[6],{"id":419,"slug":4924,"title":4925,"dynasty":1300,"author":2780,"museum":1075,"description":4926,"tags":4927,"thumbUrl":4928,"material":1148,"size":1064,"collection":6,"collections":4929,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[1055,1059,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[6],{"id":420,"slug":4931,"title":4932,"dynasty":1300,"author":4539,"museum":1287,"description":4684,"tags":4933,"thumbUrl":4934,"material":1064,"size":1064,"collection":6,"collections":4935,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[1055,1057,1058,1110,1080,1060,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[6],{"id":421,"slug":4937,"title":4938,"dynasty":1073,"author":4939,"museum":1075,"description":4940,"tags":4941,"thumbUrl":4942,"material":1098,"size":4943,"collection":6,"collections":4944,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[1055,1513,1059,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[6],{"id":422,"slug":4946,"title":4947,"dynasty":1300,"author":4948,"museum":1075,"description":4949,"tags":4950,"thumbUrl":4952,"material":1064,"size":1064,"collection":2093,"collections":4953,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[1057,1058,1061,1160,1161,1180,1450,2615,1772,4951,1452],"桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[2093,2241,6],{"id":423,"slug":4955,"title":4956,"dynasty":1156,"author":2361,"museum":4957,"description":4958,"tags":4959,"thumbUrl":4960,"material":1165,"size":4961,"collection":6,"collections":4962,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","湖南省博物馆","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[1055,1056,1057,1058,1110,1291,1060,1059,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[6],{"id":424,"slug":4964,"title":4965,"dynasty":1156,"author":2361,"museum":1287,"description":4966,"tags":4967,"thumbUrl":4969,"material":1064,"size":1064,"collection":6,"collections":4970,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[1055,1292,1112,1078,1059,1110,1534,1414,4968,1733],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[6],{"id":425,"slug":4972,"title":4973,"dynasty":1156,"author":2361,"museum":1287,"description":4974,"tags":4975,"thumbUrl":4976,"material":1064,"size":1064,"collection":6,"collections":4977,"showCount":1067,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[1055,1057,1058,1059,1112,1078,1534,1414,1292,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[6],{"id":426,"slug":4979,"title":4980,"dynasty":1073,"author":1074,"museum":2046,"description":4981,"tags":4982,"thumbUrl":4983,"material":1098,"size":4984,"collection":6,"collections":4985,"showCount":1067,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[1055,1056,1057,1058,1110,1060,1448,1180,1062]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、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[1055,1059,1148,1110,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[6],{"id":433,"slug":5053,"title":5054,"dynasty":1050,"author":5055,"museum":1052,"description":5056,"tags":5057,"thumbUrl":5058,"material":1098,"size":5059,"collection":6,"collections":5060,"showCount":5002,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-juan-zhu-xi-221565","书卷","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[1056,1057,1058,1110,1060,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[6],{"id":434,"slug":5062,"title":5063,"dynasty":1050,"author":5064,"museum":1052,"description":5065,"tags":5066,"thumbUrl":5067,"material":1098,"size":5068,"collection":6,"collections":5069,"showCount":5002,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[1055,1059,1060,1062,1919,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[6],{"id":435,"slug":5071,"title":5072,"dynasty":1073,"author":1074,"museum":1052,"description":5073,"tags":5074,"thumbUrl":5075,"material":1098,"size":5076,"collection":6,"collections":5077,"showCount":5002,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[1058,1059,1060,1080,1919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[6],{"id":436,"slug":5079,"title":5080,"dynasty":1300,"author":5081,"museum":1287,"description":5082,"tags":5083,"thumbUrl":5084,"material":1098,"size":1064,"collection":6,"collections":5085,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-shi-yan-lian-mo-you-zhi-241153","篆书十言联","莫友芝","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，贵州独山人。晚清金石学家、目录版本学家、书法家，宋诗派重要成员。家世传业，通文字训诂之学，与遵义郑珍并称“西南巨儒”。",[1513,1580,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b813a450d635f51c8e35ca39df6e3d9.jpg",[6],28,{"id":437,"slug":5088,"title":5089,"dynasty":1300,"author":5090,"museum":4957,"description":5091,"tags":5092,"thumbUrl":5093,"material":1098,"size":1064,"collection":6,"collections":5094,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"he-shao-ji-qi-yan-lian-he-shao-ji-240880","何绍基七言联","何绍基","何绍基对篆书的书法创作是比较得心应手的。在其传世墨迹中，这类作品不仅数量多，而且品位高。体势上，大篆小篆都写；书写形式上，书联、屏条、横幅等都具备，如篆书七言联：“红树雁声当夕起，黄河诗思共秋高”。结构谨严，布局沉稳，用笔挥洒自如，且富有变化，颇具韵味。",[1580,1059,1060,1956,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d97c3839637aa2e9d8adb69afd994e.jpg",[6],{"id":438,"slug":5096,"title":5097,"dynasty":1173,"author":4344,"museum":1075,"description":5098,"tags":5099,"thumbUrl":5100,"material":3804,"size":5101,"collection":6,"collections":5102,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-duo-lin-xie-zhuang-tie-zhou-wang-duo-239997","王铎临谢庄帖轴","此轴节临南朝宋谢庄书帖（原帖收入淳化阁帖）一则，计4行53字，末署款“王铎”，左侧又识：“庚寅正月廿日午时。”下钤“王铎之印”、“天渊太使”印二方。此贴书于清顺治四年（1647年），作者时年55岁，是其晚年书作。本幅无藏印与其他人题识。\n此帖书法率意洒脱，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其束缚，而是挥洒自如，结字用笔，皆出己意。师原帖之意，得其大略，而于法度之外另辟蹊径，字形大小、欹侧相间，不拘一格，通幅观之，法度自蕴其中，显示出一种恢宏的气度。",[1058,1059,1061,1148,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afd1c41d607295f24bdd1eda9a61772.jpg","纵163.6厘米，横51.6厘米",[6],{"id":439,"slug":5104,"title":5105,"dynasty":1073,"author":5106,"museum":1075,"description":5107,"tags":5108,"thumbUrl":5109,"material":3163,"size":5110,"collection":6,"collections":5111,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-shi-xing-tie-rao-jie-239618","书士行帖","饶介","释文：\n介再拜：衰病不得时面，殊悬悬。尔举令弟文已发，如见诸（误书点去）朱相、董公及众幕客，幸著一语，庶风水与舟相资也。非相厚善，言不及此，俟面为可尽耳。草草，不一一。介再拜。士行尉相先生契家。谨空。\n本幅钤项元汴诸印，又有项廷谟、安岐、何子彰、赵叔彦、完颜景贤、谭敬、张爰等人鉴藏印记。\n此帖是饶介写给张绅的一封短信。张绅，字士行，济南人，负才略，谈辩纵横，诗文自成一家，元末为张士诚所用，官内史中尉，与饶介既为同僚，亦相交善。从信中内容分析，二人此时都在张士诚幕府为官。此篇字体疏朗，用笔细劲与方厚相间，章法自然贯通，神采生动，为饶介书法的上佳之作。",[1055,1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3831957c6f4a1755e797d28428b40a.jpg","纵28.4厘米，横32.9厘米",[6],{"id":440,"slug":5113,"title":5114,"dynasty":1173,"author":5115,"museum":1287,"description":5116,"tags":5117,"thumbUrl":5118,"material":5119,"size":1064,"collection":2093,"collections":5120,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉山水轴","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[1057,1058,1061,1080,1177,1178,1349,1183,1425,2842,1182,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[2093,6],{"id":441,"slug":5122,"title":5123,"dynasty":1300,"author":5124,"museum":1075,"description":5125,"tags":5126,"thumbUrl":5128,"material":5129,"size":5130,"collection":6,"collections":5131,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[1057,1061,1534,1160,1161,1180,5127,3303,3408,1350,1796,3542,1059,1060,1112],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纸本 ，设色","纵60cm，横28.3cm",[6],{"id":442,"slug":5133,"title":5134,"dynasty":1300,"author":5135,"museum":1631,"description":5136,"tags":5137,"thumbUrl":5138,"material":5139,"size":1064,"collection":2093,"collections":5140,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[1055,1057,1058,1079,1080,1178,1305,1177,1059,1062,1450,1906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg","纸本水墨",[2093,6],{"id":443,"slug":5142,"title":5143,"dynasty":1173,"author":4270,"museum":1075,"description":5144,"tags":5145,"thumbUrl":5151,"material":1278,"size":5152,"collection":6,"collections":5153,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[1055,2173,1059,1060,1110,1080,1062,1556,1792,1178,1555,1349,1183,1425,1350,5146,2442,2236,1304,1362,2050,1095,1700,1351,2824,5147,2935,1250,2768,1251,3070,1253,2933,5148,5149,5150],"枯藤","鱼","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[6],{"id":444,"slug":5155,"title":5156,"dynasty":1050,"author":1133,"museum":1075,"description":5157,"tags":5158,"thumbUrl":5159,"material":1098,"size":5160,"collection":6,"collections":5161,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[1055,1059,1060,1093,1062,1110,1267,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[6],{"id":445,"slug":5163,"title":5164,"dynasty":1300,"author":5165,"museum":1052,"description":5166,"tags":5167,"thumbUrl":5168,"material":1082,"size":5169,"collection":6,"collections":5170,"showCount":5086,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[1055,1579,1059,1060,1061,1058,1057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087.jpg","190.5x46.5",[6],{"id":446,"slug":5172,"title":5173,"dynasty":1173,"author":5174,"museum":5175,"description":5176,"tags":5177,"thumbUrl":5179,"material":5180,"size":5181,"collection":6,"collections":5182,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"rong-song-juan-huang-dao-zhou-241159","榕颂卷","黄道周","东山县图书馆","黄道周（1585～1646）明末学者、书画家、文学家、儒学大师、民族英雄。字幼玄，一作幼平或幼元，又字螭若，螭平，号石斋，汉族，福建漳浦铜山（现东山县铜陵镇）人。天启二年进士，深得考官袁可立赏识，历官翰林院修撰、詹事府少詹事。南明隆武时，任吏部兼兵部尚书、武英殿大学士（首辅）。抗清失败，被俘殉国，谥忠烈。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人才。世人尊称之黄圣人、石斋先生。著作甚丰。有《儒行集传》、《石斋集》、《易象正义》、《春秋揆》、《孝经集传》等，后人辑成《黄漳浦先生全集》，现存诗两千余首，被俘后“见三光”的牢室中所作三百多首诗，出自忧愤，最为感人。\n他被视为明代最有创造性的书法家之一。他的书法擅长楷书、行书和草书。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。有力量，又有姿态，是黄道周行草书的主调。他以隶书铺毫和方折行笔，点画多取隶意；字虽长，但强调向右上横势盘绕，让点画变得绵而密，虽略带习气，但奇崛刚劲，形成了自己独特的形式语言，尤显出其人刚直不阿的个性。其立轴代表作有行草书《赠蕨仲兄闻警出山诗轴》、《闻奴警出山诗轴》等，两作均加大行距，以连绵草书而成，有奋笔直下之势，激情燃纸，振迅耳目，如闻钟声、蹄声于道。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。 黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[1059,1058,1110,1060,1080,1062,5178],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 23．8厘米",[6],27,{"id":447,"slug":5185,"title":5186,"dynasty":1300,"author":5187,"museum":1287,"description":5188,"tags":5189,"thumbUrl":5191,"material":1064,"size":1064,"collection":6,"collections":5192,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-su-shi-tie-heng-fu-chong-en-239808","临苏轼帖横幅","崇恩","崇恩（1803—1878），觉罗氏，字仰之，禹舲、语舲、 雨舲，别号香南居士、敔翁、语铃道人，室名壶青阁、香南精舍、吾亦爱吾等。满洲正红旗人（一作正蓝旗），系满清皇室。出生于嘉庆八年（1803），官仕道光、咸丰、同治三朝，先后任山东巡抚、内阁学士等。工书，法苏轼。画山水，出入宋、元诸名家，撷其精华，故能超轶凡近。喜收藏、精鉴赏，收藏历代书画、古籍碑帖极富，是清代中晚期著名的书法家、收藏家、鉴赏家、金石学家、诗人。著有《香南居士集》《香南精舍金石契》《金石玉铭》《枕琴轩诗草》《崇雨舲中丞诗稿守岱集》等。",[1055,1059,1060,1291,5190,1062,1093],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba04e72a16ceb09d2fd0f65dcc44e99a.jpg",[6],{"id":448,"slug":5194,"title":3264,"dynasty":2255,"author":2256,"museum":1075,"description":5195,"tags":5196,"thumbUrl":5197,"material":1493,"size":3268,"collection":6,"collections":5198,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xia-re-tie-yang-ning-shi-239575","《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[1055,1059,1148,1062,1248,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec344d88b3dc1f7b96f45d8b8ae900.jpg",[6],{"id":449,"slug":5200,"title":5201,"dynasty":1173,"author":5115,"museum":1287,"description":5202,"tags":5203,"thumbUrl":5205,"material":1098,"size":1064,"collection":6,"collections":5206,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[1057,1058,1061,1080,1178,1177,1059,1062,1060,2769,1182,1555,1183,1906,5204],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[6],{"id":450,"slug":5208,"title":5209,"dynasty":1073,"author":5210,"museum":1052,"description":5211,"tags":5212,"thumbUrl":5213,"material":1220,"size":5214,"collection":6,"collections":5215,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-jiu-cheng-gong-li-quan-ming-zhou-ke-jiu-si-221830","书九成宫醴泉铭轴","柯九思","本幅以小楷书抄录〈九成宫醴泉铭〉，以王羲之笔法为主，时而显露欧阳询、颜真卿笔法，反映其书学之渊源。全作用笔健劲，结体平正中见敧侧，秀逸中透质朴，表现出特殊的审美意趣。",[1055,1057,1058,1061,1059,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a5e687de3935f13e1834cc01421261.jpg","横31.7cm，纵26.8",[6],{"id":451,"slug":5217,"title":2789,"dynasty":1050,"author":2790,"museum":1075,"description":2791,"tags":5218,"thumbUrl":5219,"material":1098,"size":2794,"collection":6,"collections":5220,"showCount":5183,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"er-zha-tie-fan-zhong-yan-221231",[1055,1058,1059,1060,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[6],{"id":452,"slug":5222,"title":5223,"dynasty":1173,"author":5224,"museum":1075,"description":5225,"tags":5226,"thumbUrl":5228,"material":1098,"size":5229,"collection":6,"collections":5230,"showCount":5183,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-han-ce-peng-nian-219164","诗翰册","彭年","此册书法欹峭微侧，有苏轼书法意韵。王世贞《吴中往哲像赞》云：彭年 “书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[1055,1057,1058,1059,1060,1079,1080,1062,5227],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[6],{"id":453,"slug":5232,"title":5233,"dynasty":1300,"author":2374,"museum":1075,"description":5234,"tags":5235,"thumbUrl":5236,"material":4328,"size":5237,"collection":6,"collections":5238,"showCount":5239,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xin-cheng-song-zhou-zhao-zhi-qian-240916","心成颂轴","释文：\n迴转右肩。长舒左足。峻拔一角。潜虚半腹。间合间开。隔仰隔覆。迴互留放。变换垂缩。繁则减除。疏当补续，分若抵背，合如对目。孤单必大。重病乃促。以侧映斜。以斜附曲。覃精一字，功归自得盈虚。统视连行,妙在相承起伏。 隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[1078,1059,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纵128.5厘米，横36厘米",[6],26,{"id":454,"slug":5241,"title":5242,"dynasty":1156,"author":3078,"museum":1075,"description":5243,"tags":5244,"thumbUrl":5245,"material":1098,"size":5246,"collection":6,"collections":5247,"showCount":5239,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[1055,1058,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[6],{"id":455,"slug":5249,"title":5250,"dynasty":1173,"author":2632,"museum":1052,"description":3353,"tags":5251,"thumbUrl":5252,"material":1098,"size":5253,"collection":6,"collections":5254,"showCount":5239,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-za-shi-juan-wang-chong-222310","书杂诗卷",[1059,1060,1110,1062,1111,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[6],{"id":456,"slug":5256,"title":5257,"dynasty":1073,"author":5210,"museum":3352,"description":5258,"tags":5259,"thumbUrl":5260,"material":2278,"size":5261,"collection":6,"collections":5262,"showCount":5239,"zanCount":1201,"manualWeight":1068,"mainColor":1069},"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[1055,1059,1078,1110,1062,1111,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[6],{"id":457,"slug":5264,"title":5265,"dynasty":1156,"author":2361,"museum":1287,"description":5266,"tags":5267,"thumbUrl":5269,"material":1064,"size":1064,"collection":6,"collections":5270,"showCount":5239,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"fo-jing-dian-lan-ran-se-zhi-yi-ming-221118","佛经靛蓝染色纸","靛蓝染纸褪去了初时鲜亮，晕出温柔褐调，纸面洒金星子点缀，暗生华贵。残卷唐楷法度端严，笔锋筋骨依旧清晰，墨色沉实沉静，带着写经特有的庄敬气韵。\n\n青褐织锦的莲纹缠枝古雅雍容，将残妥帖承托，织纹与染纸旧色相映成趣。边角虽被岁月磨蚀缺损，却如时光镌刻的印记，让纸面的虔诚笔墨更添厚重。断句残卷里，依旧藏着盛唐奉经的沉静端方，染纸余色与写经墨痕交织，化作跨越年岁的梵音回响，静静诉说旧时光里的信仰温度。",[1055,1112,1059,1078,1248,1534,1414,5268],"靛蓝染色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aab4e82e17a524b405fa65438116bd.jpg",[6],{"id":458,"slug":5272,"title":5273,"dynasty":1173,"author":2116,"museum":1075,"description":5274,"tags":5275,"thumbUrl":5276,"material":5277,"size":5278,"collection":6,"collections":5279,"showCount":5239,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[1055,1056,1057,1058,1110,1060,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[6],{"id":459,"slug":5281,"title":5282,"dynasty":1173,"author":2116,"museum":5283,"description":5284,"tags":5285,"thumbUrl":5286,"material":1165,"size":5287,"collection":6,"collections":5288,"showCount":5239,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-du-gong-bu-shi-dong-qi-chang-220899","书杜工部诗","昆仑堂美术馆","董其昌世称“董香光”、“董文敏”、“董华亭”，在明末以书画名重海内。行书以“二王”为宗，用笔精到，用墨讲究，布局闲适舒朗，神采风韵自足。\n董其昌是明代重要的画家、书法家。《明史》中称其：“自成一家，名闻外国，其画集宋元诸家之长行以己意，潇洒生动，非人力所及也。四方金石之刻，得其制作手书，以为二绝，造请无虚日，尺素短札流布人间，争购宝之。精于品题，收藏家得片语只字以为重。”\n董其昌的书法对后人的影响极大，康熙帝赞其：“天姿迥异，其高秀圆润之致流行于褚墨间，非诸家所能及也。 每于若不经意处丰神独绝，如微云卷舒，清风飘拂，尤得天然之趣。”董其昌作为学古而成的书家，其风格面貌的形成与其独特的学书观密切相关。\n在中国古代艺术理论中，一直有“师古”和“师心”的论争，各自从不同角度出发衍生出一整套艺术理论。董其昌在这个时期坚持“师古”观点，要求在对古代作品的临摹中锻炼自己的技法并深入领悟古人的精神内蕴。在这个过程中形成自己的风格，结合历史时代背景后，最终产生新的艺术风格。",[1055,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9c1043aa026bf462ec1c1d0cf17a9c.jpg","横279cm，纵28.5cm",[6],{"id":460,"slug":5290,"title":5291,"dynasty":1173,"author":2022,"museum":1287,"description":5292,"tags":5293,"thumbUrl":5294,"material":2669,"size":2815,"collection":6,"collections":5295,"showCount":5296,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"za-ji-shu-zha-he-ce-xu-wei-240579","杂记书札合册","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[1057,1058,1079,1060,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20ac2bc0f4c0aa35086c5bf0f693aca.jpg",[6],25,{"id":461,"slug":5298,"title":5299,"dynasty":1300,"author":5300,"museum":1052,"description":5301,"tags":5302,"thumbUrl":5303,"material":5304,"size":5305,"collection":6,"collections":5306,"showCount":5296,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-lian-huang-yi-240279","五言联","黄易","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[1579,1059,1956,1580,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","水墨纸本","108.5×24cm",[6],{"id":462,"slug":5308,"title":5309,"dynasty":1173,"author":1601,"museum":1075,"description":5310,"tags":5311,"thumbUrl":5313,"material":1098,"size":5314,"collection":6,"collections":5315,"showCount":5296,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"guan-gong-miao-bei-ye-zhu-yun-ming-239573","关公庙碑页","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[1059,1060,5312,1062,2173],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea117ecdc2acfc65ec3addd9779f1ecc.jpg","26.7×49.6cm",[6],{"id":463,"slug":5317,"title":5318,"dynasty":1173,"author":3103,"museum":1075,"description":5319,"tags":5320,"thumbUrl":5323,"material":1482,"size":5324,"collection":6,"collections":5325,"showCount":5296,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"qi-shi-tu-zhou-chen-hong-shou-237693","乞士图轴","图绘乞士拄杖而立。款题“陈洪绶摹李伯时乞士图”，钤“陈洪绶印”白文印、“章侯父”白文印。乞士为比丘的别称，有“上乞法于佛，下乞食于一切众生”之意。《法华义疏》卷一云：“比丘者名为乞士，上从如来乞法以练神，下就俗人乞食以资身，故名乞士。”比丘的境界也含有破除一切烦恼，了一切生死而能成正果的意思。\n图中人物造型略为夸张，线条简洁洗练，高古奇隽。清代张庚在《国朝画征录》中指出，陈洪绶画人物“躯干伟岸，衣纹清圆细劲，兼有（李）公麟、（赵）子昂之妙”。此图虽题为摹李公麟，实则变圆为方，化整为散，主要是仿李公麟白描画法的秀灵和神韵，形不似而神似，寥寥数笔即刻画出乞士超脱不凡的精神境界。",[1057,1061,1161,1180,5321,5322,1059,1060,1062],"拐杖","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed15b0fa176fc9c04a100b5058ac344.jpg","纵34.4厘米，横26.2厘米",[6],{"id":464,"slug":5327,"title":5328,"dynasty":1300,"author":4279,"museum":1075,"description":4496,"tags":5329,"thumbUrl":5332,"material":5333,"size":5334,"collection":2093,"collections":5335,"showCount":5296,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[1057,1058,1061,1080,1177,1178,1450,1182,2418,1906,5330,5331,2197,4723],"近树","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[1057,1058,1061,1080,1177,1291,1178,1182,1450,1449,1183,2198,3198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[2093,2241,6],{"id":472,"slug":5393,"title":5394,"dynasty":1300,"author":2780,"museum":1287,"description":5395,"tags":5396,"thumbUrl":5398,"material":1098,"size":1064,"collection":6,"collections":5399,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[1055,1059,1060,1148,1058,1579,1062,5397],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[6],{"id":473,"slug":5401,"title":5402,"dynasty":1050,"author":2361,"museum":1075,"description":5403,"tags":5404,"thumbUrl":5408,"material":1482,"size":5409,"collection":6,"collections":5410,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[1055,1056,1057,1110,5405,1448,1080,1180,1348,1349,5406,2879,5407],"界画","房舍","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm",[6],{"id":474,"slug":5412,"title":5413,"dynasty":1173,"author":1601,"museum":1052,"description":5414,"tags":5415,"thumbUrl":5416,"material":1098,"size":5417,"collection":6,"collections":5418,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-tie-mei-nv-pian-zhu-yun-ming-222480","诗帖《美女篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[1055,2173,1059,1148,1110,1093,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47cd6be28ec531ffe99cbe4cf7f8f1aa.jpg","纵36.1厘米，横1147.5厘米",[6],{"id":475,"slug":5420,"title":5421,"dynasty":1173,"author":1601,"museum":1122,"description":5422,"tags":5423,"thumbUrl":5424,"material":1098,"size":5425,"collection":6,"collections":5426,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mu-dan-fu-zhu-yun-ming-222471","牡丹赋","此卷笔法精熟,恣肆纵逸,夺人心魄，是为记园内牡丹盛开而书即兴之赋。祝氏中年行草居多，至晚年则喜作大草。由于涉猎广博才分自高，祝氏所书下手便直接晋唐宋元，融会贯通之下独立高标。尤其是他五十岁之后的草书之作，更是吞吐腾挪出神入化。他的此类创作显然得法于唐代张旭、怀素两家，同时也受“宋四家”中黄庭坚的影响，但相形之下愈加狂放烂漫",[1055,1059,1148,1110,1080,1062,1700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a84f256639e0c7480e9acd4a8875bf.jpg","纵30.8 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厘米",[6],{"id":476,"slug":5428,"title":5429,"dynasty":1050,"author":3765,"museum":1075,"description":5430,"tags":5431,"thumbUrl":5432,"material":1098,"size":5433,"collection":6,"collections":5434,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shang-hong-zhai-tie-juan-wen-tian-xiang-221462","上宏斋帖卷","此帖内容是祝贺宏斋（包恢）晋官，并述政治。书于宋度宗咸淳元年（1265年），文天祥时年30岁。是年正月文氏除湖南提刑，三月到任，书此札时尚在乡里。\n关于此帖书写原由，明代李时勉跋曰：“盖度宗初接位，招宏父为刑部尚书、签书枢密院事，封南城县侯，故公贺以此书也。”\n此件书法清疏挺竦，风格秀劲，古雅可爱。札中内容涉及文天祥在江西任上对赣寇“用兵丁万人，声罪致讨”之事，对研究当时的历史有重要价值。\n明汪砢玉《珊瑚网》、郁逢庆《郁氏续书画题跋记》，清《式古堂书画汇考》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[1055,1059,1060,1110,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507eee38ab40acdd9255c30fe796ae68.jpg","纵39.2cm，横149.9cm",[6],{"id":477,"slug":5436,"title":5437,"dynasty":4907,"author":2361,"museum":1287,"description":5438,"tags":5439,"thumbUrl":5440,"material":1064,"size":1064,"collection":6,"collections":5441,"showCount":5376,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"ji-yi-qie-fu-de-san-mei-jing-juan-yi-ming-221048","集一切福德三昧经卷","【涅槃部】 大乘经五大部中之第五部。",[1055,1534,1059,1112,1078,1110,1248,1267,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a682b6d006132fdc9dc1275129a8f68.jpg",[6],{"id":478,"slug":5443,"title":5444,"dynasty":1173,"author":2116,"museum":1052,"description":5445,"tags":5446,"thumbUrl":5451,"material":1098,"size":5452,"collection":6,"collections":5453,"showCount":5376,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[1055,1056,1057,1058,1061,1060,1291,1733,2173,5447,3502,1059,5448,2013,5449,5450],"文人书法","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[6],{"id":479,"slug":5455,"title":5456,"dynasty":1173,"author":5457,"museum":1075,"description":5458,"tags":5459,"thumbUrl":5460,"material":1098,"size":1064,"collection":6,"collections":5461,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cha-liao-shi-zhou-zhu-zhi-fan-241056","茶寮诗轴","朱之蕃","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。婡万历洎頭條二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，不复出仕。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。\n之蕃工绘画，竹石兼东坡神韵，山水酷似米芾等大家。又工书法，真、行书师法赵孟頫得颜真卿、文征明笔意，日可写万字。在他出使朝鲜期间，朝鲜人以人参、貂皮为礼品，请他作画写字。他将所获得的礼品，尽行出售，另买书画、古器以归，其收藏极为丰富。他于泰昌元年（1620）所作《君子林图卷》，现藏故宫博物院。著有《使朝鲜稿》4卷、《纪胜诗》1卷、《落花诗》1卷、《南还杂著》1卷等。",[1057,1058,1061,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c78613c32b498a996da1cacd3311c5.jpg",[6],23,{"id":480,"slug":5464,"title":5465,"dynasty":1073,"author":3335,"museum":1075,"description":3336,"tags":5466,"thumbUrl":5467,"material":1098,"size":3339,"collection":6,"collections":5468,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tai-bu-hua-zhuan-shu-lou-shi-ming-juan-tai-bu-hua-239691","泰不华篆书陋室铭卷",[2011,1513,1059,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2855344898cc0fa28ffc817f2ce61f3.jpg",[6],{"id":481,"slug":5470,"title":5471,"dynasty":1050,"author":2790,"museum":1075,"description":5472,"tags":5473,"thumbUrl":5474,"material":1493,"size":5475,"collection":6,"collections":5476,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dao-fu-zan-juan-fan-zhong-yan-239578","道服赞卷","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。\n此卷经《铁网珊瑚》、《清河书画舫》、《清河见闻表》、《式古堂书画汇考》、《平生壮观》、《大观录》、《墨缘汇观》、《石渠宝笈·初编》等书著录。刻入明文徵明《停云馆帖》、乾隆内府《三希堂法帖》。\n曾经宋范氏义庄，清安岐、清内府等收藏，后归张伯驹。 1956年张伯驹夫妇将其捐献故宫博物院。",[1055,1059,1060,1110,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[6],{"id":482,"slug":5478,"title":5479,"dynasty":1300,"author":5480,"museum":1287,"description":5481,"tags":5482,"thumbUrl":5483,"material":1064,"size":1064,"collection":2093,"collections":5484,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[1057,1058,1079,1160,5405,1161,1178,1425,1348,1349,1183,1180,1450,1182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[2093,2241,6],{"id":483,"slug":5486,"title":5487,"dynasty":1300,"author":4279,"museum":1287,"description":5488,"tags":5489,"thumbUrl":5490,"material":1064,"size":1064,"collection":6,"collections":5491,"showCount":5462,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[1057,1080,1061,1177,1059,1062,1178,1767,1825,2198,1450,1449,1555,3539,2418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[6],{"id":484,"slug":5493,"title":5494,"dynasty":1173,"author":4487,"museum":1075,"description":5495,"tags":5496,"thumbUrl":5497,"material":1064,"size":1064,"collection":2093,"collections":5498,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"song-zhu-shuang-qing-ce-xiang-sheng-mo-236569","松竹双清册","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[1057,1058,1079,1080,1592,1362,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27527a98f63b9465054da19b06c8e512.jpg",[2093,6],{"id":485,"slug":5500,"title":3041,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":5501,"thumbUrl":5502,"material":1098,"size":1064,"collection":6,"collections":5503,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shou-gao-hong-yi-fa-shi-223269",[1055,1579,1059,1060,3041,1080,4968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[6],{"id":486,"slug":5505,"title":5506,"dynasty":1300,"author":5507,"museum":1287,"description":5508,"tags":5509,"thumbUrl":5511,"material":3521,"size":5512,"collection":2093,"collections":5513,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[1055,1056,1057,1058,1110,5510,1177,1080,1178,1450,1182,2198,1059,1060],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[2093,1189,6],{"id":487,"slug":5515,"title":5516,"dynasty":1173,"author":1601,"museum":2415,"description":5517,"tags":5518,"thumbUrl":5519,"material":1098,"size":5520,"collection":6,"collections":5521,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[1055,1059,1148,1060,1110,3115,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[6],{"id":488,"slug":5523,"title":5524,"dynasty":1156,"author":2361,"museum":1287,"description":5525,"tags":5526,"thumbUrl":5527,"material":1064,"size":1064,"collection":6,"collections":5528,"showCount":5462,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[1055,1059,1112,1534,1414,1078,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[6],{"id":489,"slug":5530,"title":5531,"dynasty":1173,"author":2116,"museum":1052,"description":5532,"tags":5533,"thumbUrl":5534,"material":1098,"size":5535,"collection":6,"collections":5536,"showCount":5462,"zanCount":1385,"manualWeight":1068,"mainColor":1386},"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[1055,1059,1058,1057,1061,1291,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[6],{"id":490,"slug":5538,"title":5539,"dynasty":1073,"author":1074,"museum":1075,"description":5540,"tags":5541,"thumbUrl":5542,"material":1098,"size":5543,"collection":6,"collections":5544,"showCount":5462,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"guo-meng-tie-zhao-meng-fu-220888","过蒙帖","帖中的总管相公应是赵氏同宗。此札一是感谢他对家兄照 顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[1055,1059,1060,1111,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[6],{"id":491,"slug":5546,"title":5547,"dynasty":1300,"author":3370,"museum":1287,"description":5548,"tags":5549,"thumbUrl":5556,"material":1098,"size":5000,"collection":6,"collections":5557,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-yan-shi-zhou-zheng-fu-241563","七言诗轴","此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔画的粗细及运笔却极富变化，舍汉隶之方正，而求“盘于跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息，代表了郑簠隶书的典型风格。\n郑簠（1622-1694年），字汝器，号谷口，清代上元（今江苏南京）人。工书法，尤以隶书擅名于清初书坛。其隶书初学明代宋珏，后专意于《曹全碑》，并在隶书中融入草书笔法，形成疏宕纵逸、顿挫飞扬的独特风格，对清代隶书产生很大影响。包世臣将其书列为“逸品上”，时有“谷口八分古今第一”之誉。",[1956,1059,1061,1062,5550,5551,5552,3258,5553,1793,5554,1772,5555],"山堂","白云","飞絮","落叶","柏子","水湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12525d09d8811e336635d39972f7289.jpg",[6],22,{"id":492,"slug":5560,"title":5561,"dynasty":1300,"author":1670,"museum":1075,"description":5562,"tags":5563,"thumbUrl":5568,"material":4328,"size":5569,"collection":6,"collections":5570,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"tao-hua-yuan-shi-zhou-he-chao-240268","桃花源诗轴","署款：“右临湜庵老师法，义门何焯。”下钤“何焯之印”、“峐瞻”印2方。\n鉴藏印钤“程心柏藏”、“巩伯平生真赏”、“春林”印3方。\n此书写七言古诗一首，结体工谨端秀，笔力劲健，布局舒展明朗，深得欧阳询意韵。近人马宗霍曾云：“义门日事点勘，故小真、行书不习而之，较之习而工者为雅。”此轴也反映出何焯因每日从事点勘、抄写所积累的深厚的书法功力。",[1058,1061,1078,1059,1062,1351,1178,2861,5564,1183,5565,5566,3954,2025,5567],"渔舟","青山","云林","古津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2460226bb9d8108cd3cfa9d7e6b13b63.jpg","纵60.4厘米，横33.8厘米",[6],{"id":493,"slug":5572,"title":5573,"dynasty":1173,"author":2632,"museum":1075,"description":5574,"tags":5575,"thumbUrl":5576,"material":1098,"size":5577,"collection":6,"collections":5578,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"li-bai-gu-feng-shi-juan-wang-chong-240261","李白古风诗卷","《李白古风诗》释文\n本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[1055,1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86aa414d3f7a5ee8c6b8c6314c6ce2ef.jpg","纵26.8厘米, 横771厘米",[6],{"id":494,"slug":5580,"title":5581,"dynasty":1300,"author":5582,"museum":1287,"description":5583,"tags":5584,"thumbUrl":5585,"material":1064,"size":5586,"collection":6,"collections":5587,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-liu-tiao-ping-cheng-quan-240143","篆书六条屏","程荃","程荃[清]字蘅衫。安徽怀宁明经。邓石如 工山水，精篆刻，有篆隐园集。《沉经堂题跋、徽州府志、广印人传》",[1579,1513,1059,4829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa96d3b1879cd5632c8791b0d014b76e.jpg","纵132.4cm、横30cm",[6],{"id":495,"slug":5589,"title":5590,"dynasty":1073,"author":5591,"museum":1075,"description":5592,"tags":5593,"thumbUrl":5594,"material":1098,"size":5595,"collection":6,"collections":5596,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"guo-jing-xing-he-liang-long-ji-shi-juan-guo-bi-239630","郭景星和梁隆吉诗卷","郭畀","释文：\n太常金奉礼宴翰苑诸公，出青玉荷盘，色奇古。盘之上擎杯，象莲蓬，下屈为柄，上覆为盖。盖青质而紫章，凡十九点，匠氏剜为莲房，殆夺天巧。嘱丹杨郭畀赋诗。诗固未足为杯盘夸，然将来或可讬诗以传也。碧云亭亭水天永，翠盖翻风堕秋影。文姬团扇感初凉，露华乱落明珠冷。紫茎绿叶歌秋兰，涉江折得烟蓬还。前缘已被专房误，守宫血点犹斑斑。麴生解后夸奇特，倒卷沧溟供一吸。太华峰高归路遥，但觉满怀春拍拍。俗眼傲睨瑠璃钟，金罍未用争夸雄。古诗调高和者寡，拟唤杜陵醉中把。至治初元修禊日。\n钤“郭畀天锡”印。鉴藏印有“砚溪清玩”、“年羹尧字亮工别号双峰”、“唐翰题审定”、“陆树声鉴赏章”等6方。\n按清唐翰题言，其先得到俞希鲁书《郭天锡文集序》，后又陆续得到郭畀书《郭景星和梁隆吉诗》以及《青玉荷盘诗》，因之合装成一卷，名为《郭氏诗翰卷》，并跋于卷后，以识本末。《青玉荷盘诗》之序记述了书此诗的原由：“太常金奉礼宴翰苑诸公，出青玉荷盘”，其盘的制作“殆夺天巧”，故赋诗以赞之。按俞序书于至正十五年（1355年）八月既望，此时郭畀已卒，“今二十余年矣”。序文又称郭氏“年才五十六耳”。徐邦达先生据此推断郭畀约生于元世祖至元十七年（1280年），约卒于惠宗至元元年（1335年）。《青玉荷盘诗》书于至治初元，作者时年约42岁。\n本诗卷书法得赵孟頫形骸，是元人中师法赵孟頫之佳者。结构疏密得宜，笔画劲挺磊落，点画精美，运笔娴熟，有一定的艺术水平。",[1055,1059,1058,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472e9363bb29dbc628bbfe02b0198f5f.jpg","纵29.3厘米，横56.2厘米",[6],{"id":496,"slug":5598,"title":5599,"dynasty":1073,"author":1074,"museum":1075,"description":5600,"tags":5601,"thumbUrl":5602,"material":1482,"size":5603,"collection":6,"collections":5604,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[1055,1058,1291,1078,1059,1093,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[6],{"id":497,"slug":5606,"title":3937,"dynasty":1050,"author":1051,"museum":1075,"description":3938,"tags":5607,"thumbUrl":5608,"material":5609,"size":3941,"collection":6,"collections":5610,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[1055,1056,1057,1058,1110,1059,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[6],{"id":498,"slug":5612,"title":5613,"dynasty":1156,"author":2361,"museum":1287,"description":5614,"tags":5615,"thumbUrl":5616,"material":1064,"size":1064,"collection":6,"collections":5617,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"fa-hua-jing-fang-bian-pin-yi-ming-223536","法华经方便品","此品与寿量品，是《法华经》的两大中心，为本经正宗分。佛由三昧起，称叹诸佛智慧甚深无量，难解难入，佛说诸佛究竟了知诸法实相——“十如是”。为令声闻、缘觉二乘人断苦缚，得涅槃，佛以方便力，曾分说三乘之教，今日所说才是佛的真实教法。五千增上慢者退席，佛乃宣示唯一大事因缘，所谓开、示、悟、入佛之知见；一切众生皆当作佛，实无三乘。",[1059,1112,1078,1534,1414,4968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa975179b3b6f59e9b8f0cfdd5438601e.jpg",[6],{"id":499,"slug":5619,"title":5620,"dynasty":1050,"author":2510,"museum":1564,"description":5621,"tags":5622,"thumbUrl":5623,"material":1098,"size":5624,"collection":6,"collections":5625,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[1055,1056,1058,1110,1060,1059,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[6],{"id":500,"slug":5627,"title":5628,"dynasty":1050,"author":5629,"museum":1052,"description":5630,"tags":5631,"thumbUrl":5637,"material":1098,"size":5638,"collection":6,"collections":5639,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[1055,1056,1057,1058,1059,1060,1080,5632,5633,5634,2932,3496,1251,2935,5635,5636],"红旗","黄钺","湖","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[6],{"id":501,"slug":5641,"title":5642,"dynasty":1050,"author":5643,"museum":1052,"description":5644,"tags":5645,"thumbUrl":5647,"material":1098,"size":5648,"collection":6,"collections":5649,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[1055,1732,1058,1059,1060,1080,1733,5646],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[6],{"id":502,"slug":5651,"title":5652,"dynasty":1173,"author":2116,"museum":1052,"description":5653,"tags":5654,"thumbUrl":5655,"material":1098,"size":5656,"collection":6,"collections":5657,"showCount":5558,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[1055,1059,1060,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[6],{"id":503,"slug":5659,"title":5660,"dynasty":1050,"author":5661,"museum":1052,"description":5662,"tags":5663,"thumbUrl":5664,"material":1165,"size":1064,"collection":6,"collections":5665,"showCount":5558,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zhi-zhi-fu-she-ren-chi-du-zhao-bian-219641","致知府舍人尺牍","赵抃","落笔瘦劲爽利，提转藏裹间尽显温润君子气度。通篇章法疏朗留白，气息匀净安宁，无一字赘笔炫技，只以凝练沉稳的笔墨，写就日常谢启心绪。将宋代尚意风雅融于尺牍寸方，把文人清简端方的襟怀藏于毫端。作为日常书札，不见刻意雕琢，只以平实笔触叙写往来，随性雅致间尽显宋人手札的萧散意趣，尺幅虽小却余韵悠长，尽显士大夫的清雅风骨。",[1059,1060,1919,1098,1733,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce50dd9ba6240140838dd3d.jpg",[6],{"id":504,"slug":5667,"title":5668,"dynasty":1300,"author":5669,"museum":1287,"description":5670,"tags":5671,"thumbUrl":5672,"material":1098,"size":1064,"collection":6,"collections":5673,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[1058,1059,1291,1060,1078,1513,1956,1148,1080,1098,1062,4829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[6],{"id":505,"slug":5675,"title":5676,"dynasty":1173,"author":2655,"museum":1287,"description":5677,"tags":5678,"thumbUrl":5679,"material":1098,"size":5680,"collection":6,"collections":5681,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zhang-rui-tu-wu-jue-zhou-zhang-rui-tu-241027","张瑞图五绝轴","释文：\n“与君青眼尽，共有白云心。不向东山去，旦旦春草深。瑞图。”\n本幅款钤“张长公”、“瑞图”印2方，迎首钤“文学侍从之臣”印。收藏印钤“固始张氏镜菡榭嗣主玮审定续考”、“志仁历史文物馆藏”。\n此轴书法从钟、王入手，笔势生辣，点画纵横，坚实劲挺，虽为行书而折笔侧入，形体尖锐，起止转折倔强，力量饱满，笔墨酣畅。清秦祖永《桐阴论画》评：“瑞图书法奇逸，钟王之外，另辟蹊径。”",[1059,1060,1148,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5f6bfdd672775f742fb91dad10f457.jpg","纵172.7厘米，横43.5厘米",[6],{"id":506,"slug":5683,"title":5684,"dynasty":1300,"author":1953,"museum":1122,"description":5685,"tags":5686,"thumbUrl":5687,"material":1098,"size":5688,"collection":6,"collections":5689,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-qi-yan-lian-deng-shi-ru-240989","篆书七言联","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[1513,1580,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9dac009da8df7b2372ff3f123f2e4.jpg","纵168.8厘米；横84.3厘米",[6],{"id":507,"slug":5691,"title":5692,"dynasty":1300,"author":5081,"museum":5046,"description":5693,"tags":5694,"thumbUrl":5695,"material":1098,"size":5696,"collection":6,"collections":5697,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xun-zi-yu-si-tiao-ping-mo-you-zhi-240644","荀子语四条屏","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，晚清 家世传业，通文字训诂之学\n莫友芝著述甚多，他的《宋元旧本书经眼录》及附录、《知见传本书目》、《恃静斋藏纪要》，为目录版本学者所重视；《他的《郘亭遗诗》八卷，收集诗作546首，《郘亭诗抄》六卷，收401首，《影山词》二卷，外集一卷，收集词作百余阕，另有《素阴杂记》一卷，《樗茧谱注》一卷（按：《樗茧谱》一卷，郑珍著。），《资治通鉴索隐》等。此外，他还收集了贵州266家诗人的诗2290余首，编成《黔诗纪略》三十三卷。这些著作，有很高的文学价值和史料价值。",[1059,1513,4829,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f10c81f241fbe5c57c1134e7425a58.jpg","128×32cm×4",[6],{"id":508,"slug":5699,"title":5700,"dynasty":1173,"author":5174,"museum":1075,"description":5701,"tags":5702,"thumbUrl":5703,"material":5704,"size":5705,"collection":6,"collections":5706,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-huang-dao-zhou-240394","诗轴","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[1059,1061,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[6],{"id":509,"slug":5708,"title":1575,"dynasty":1300,"author":1510,"museum":1075,"description":5709,"tags":5710,"thumbUrl":5711,"material":1098,"size":5712,"collection":6,"collections":5713,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-ba-yan-lian-wu-chang-shuo-240392","释文：\n花时鲤帛寓安迺乐，辞中虎帅写翰为猷。 集猎碣字。时丁巳先花朝数日客春申浦。安吉吴昌硕。\n此件集石鼓文对联书于民国六年（1917年），吴昌硕时年74岁。笔法浑厚流畅，方圆兼济，变化丰富，充满古朴凝练、沉实恣肆的金石气，是吴昌硕晚年创作的石鼓文精品。\n石鼓为战国时期秦国刻石，以形状似鼓而得名，因铭文内容记述贵族游猎事，又称猎碣。石鼓共十只，分刻先秦古歌一篇。石鼓文是籀文向小篆过渡阶段的文字，其体态堂皇整肃，笔法雄浑圆活，风神气质在古文字书法中独树一帜。因时代久远，字迹多有磨灭。石鼓现藏北京故宫博物院（注：展出地点会变化）。\n作为继邓石如之后的又一位篆书大师，吴昌硕将邓石如立足小篆的探索领域拓展到商周大篆，主要围绕石鼓文进行创作。他打破了清人以笔追金的拟古观念，以自然舒展的行书笔法入篆，从神形两方面表现三代文字雄强苍浑的审美趣味，为大篆古法注入了新的气息。",[1513,1580,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c8a69672213d323d9e057a5fb9345f.jpg","纵172.5厘米，横36.7厘米",[6],{"id":510,"slug":5715,"title":5716,"dynasty":1300,"author":5090,"museum":1287,"description":5717,"tags":5718,"thumbUrl":5719,"material":1064,"size":1064,"collection":6,"collections":5720,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wan-bai-shan-ren-mu-zhi-ming-ce-he-shao-ji-239689","完白山人墓志铭册","何绍基（1799年—1873年），字子贞，号东洲，别号东洲居士，晚号猿叟（一作蝯叟），湖南道州（今道县）人，晚清诗人、画家、书法家。\n道光十六年进士。咸丰初简四川学政，曾典福建等乡试。历主山东泺源、长沙城南书院。\n何绍基通经史，精小学金石碑版。据《大戴记》考证《礼经》。书法初学颜真卿，又融汉魏而自成一家，尤长草书。著有《惜道味斋经说》《东洲草堂诗·文钞》《说文段注驳正》等。",[1059,1513,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdca624b68ff2d04fb334f2defbfb077.jpg",[6],{"id":511,"slug":5722,"title":5723,"dynasty":1343,"author":2361,"museum":1287,"description":5724,"tags":5725,"thumbUrl":5726,"material":1064,"size":1064,"collection":6,"collections":5727,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"da-ji-jing-juan-yi-ming-239683","大集经卷","无款董孝赞大方等",[1055,1059,1112,1110,1078,1534,1414,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205cba82e2836f633d25bd2be3a039c1.jpg",[6],{"id":512,"slug":5729,"title":5730,"dynasty":1173,"author":5731,"museum":1287,"description":5732,"tags":5733,"thumbUrl":5734,"material":1064,"size":1064,"collection":2093,"collections":5735,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[1057,1058,1061,1080,1177,1059,1062,1178,1425,1450,1182,1180,5331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[2093,1189,6],{"id":513,"slug":5737,"title":5738,"dynasty":1300,"author":2361,"museum":1075,"description":5739,"tags":5740,"thumbUrl":5741,"material":5742,"size":5743,"collection":2093,"collections":5744,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[1057,1058,1061,1080,1177,1178,1180,1450,1182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[2093,1189,6],{"id":514,"slug":5746,"title":5747,"dynasty":1173,"author":4344,"museum":2415,"description":5748,"tags":5749,"thumbUrl":5750,"material":1098,"size":5751,"collection":6,"collections":5752,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[1055,1110,1058,1060,1148,1059,1080,1178,1177,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[6],{"id":515,"slug":5754,"title":5755,"dynasty":1050,"author":1051,"museum":1287,"description":5756,"tags":5757,"thumbUrl":5758,"material":1098,"size":5759,"collection":6,"collections":5760,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wei-qing-dao-ren-tie-ye-huang-ting-jian-221280","惟清道人帖页","《惟清道人帖》中作者记录了惟清道人的操行品质及其与张商英（天觉）的交往。黄庭坚于北宋绍圣元年（1094年）在江西分宁，从帖文分析，此帖当书于其年夏日，时年51岁。帖中所提之惟清道人在《嘉泰录》卷六中有所记载，俗姓陈，南州武宁（在江西）人，为江西隆兴府黄龙寺禅师，北宋政和七年（1117年）卒。\n此帖行书行间宽绰而字间紧密，所以笔画多取横势，结体欹侧，左低右高，有峭拔之态，充分体现了黄庭坚小行书的特点，为其代表作品。\n此帖为清宫旧藏，收在《法书大观册》内。乾隆帝题赞“凌冬老干偃蹇岩壑”（《三希堂法帖》卷十三可见），后此赞墨迹及清内府藏印被挖去。\n著录于《妮古录》卷四、《平生壮观》卷二、《墨缘汇观》法书卷上。",[1055,1058,1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c125c7929f0a4b3662a02431c4c44.jpg","纵29.3厘米，横31.8厘米",[6],{"id":516,"slug":5762,"title":5763,"dynasty":1173,"author":2116,"museum":1075,"description":5764,"tags":5765,"thumbUrl":5766,"material":1060,"size":5767,"collection":6,"collections":5768,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"bai-yu-shan-fu-zhou-dong-qi-chang-220928","白羽扇赋轴","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。《白羽扇赋》写于壬申（1632年）秋，董其昌已经七十八岁高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[1056,1057,1058,1059,1061,1060,1080,1098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422a77cdfa4eff9dc9e298726c2f5e1d.jpg","136.5X60.2cm",[6],{"id":517,"slug":5770,"title":5771,"dynasty":1173,"author":2116,"museum":1631,"description":5772,"tags":5773,"thumbUrl":5774,"material":3502,"size":5775,"collection":6,"collections":5776,"showCount":1117,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[1055,1059,1060,1110,2768,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","26.7 x 183.7 cm",[6],{"id":518,"slug":5778,"title":5779,"dynasty":1300,"author":5090,"museum":1075,"description":5780,"tags":5781,"thumbUrl":5782,"material":4328,"size":5783,"collection":6,"collections":5784,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","释文：\n古砚华笺分桂上露，清言妙理来松下风。\n韫斋大公祖大人正。弟何绍基。\n款署 ：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[1580,1059,1078,1062,1733,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纵191.4厘米，横42.8厘米",[6],20,{"id":519,"slug":5787,"title":5788,"dynasty":1173,"author":4344,"museum":1075,"description":5789,"tags":5790,"thumbUrl":5791,"material":5792,"size":5793,"collection":6,"collections":5794,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"xing-shu-wu-lv-shi-zhou-wang-duo-240055","行书五律诗轴","释文：\n每每遇烟扉，江枫坠客衣。乡音随地改，龙影入云微。樵爨仓皇了，菱歌隐约归。吁嗟鵽（鸟）翼，（得意）向南飞。壬午嘉兴作。戊子寒食后一日书于琅华馆。王铎。\n落“鸟”、“得意”共三字。\n款署：“戊子寒食后一日书于琅华馆。王铎。”钤“王铎之印”、“烟潭渔叟”白文二印。\n此幅录自作五律诗《嘉兴》，载《拟山园选集》卷二十二。此诗是王铎在明崇祯十五年壬午（1642年）南下避乱，途经嘉兴时所作，书于清顺治五年（1648年），书法骨力峭拔，书风沉雄俊逸。",[1059,1060,1148,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a4de9797f05b0dfb4c001375ec5ef0.jpg","绫本，行书","纵186.1厘米，横51.9厘米",[6],{"id":520,"slug":5796,"title":5797,"dynasty":1300,"author":5798,"museum":1075,"description":5799,"tags":5800,"thumbUrl":5803,"material":1278,"size":5804,"collection":6,"collections":5805,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[1061,1060,1059,1425,1304,1362,1556,5801,1251,5802,1794,1250],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[6],{"id":521,"slug":5807,"title":5700,"dynasty":1300,"author":5808,"museum":1287,"description":5809,"tags":5810,"thumbUrl":5811,"material":1064,"size":1064,"collection":6,"collections":5812,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-zhang-xue-ceng-239795","张学曾","崇祯六年(1633)副贡，官苏州知府。张学曾为“画中九友”之一，在艺术上受董其昌、王时敏之影响非浅，其艺术风格，与当时流派相融合。山水师董源，出入于宋、元诸家。喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩。程正揆题其画云：“此道寥寥，得其解者，唯约庵吾友，差足与语，不复多见矣。",[1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbeaefd9151a0aa1d9ba86db34d25851.jpg",[6],{"id":522,"slug":5814,"title":5815,"dynasty":1073,"author":4354,"museum":1075,"description":5816,"tags":5817,"thumbUrl":5820,"material":1278,"size":5821,"collection":6,"collections":5822,"showCount":5785,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[1055,1059,1060,1110,1062,1111,5818,5819,2011],"汉字","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[6],{"id":523,"slug":5824,"title":5825,"dynasty":1173,"author":1601,"museum":1287,"description":5826,"tags":5827,"thumbUrl":5828,"material":1064,"size":1064,"collection":6,"collections":5829,"showCount":5785,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[1055,1058,1110,1060,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[6],{"id":524,"slug":5831,"title":5832,"dynasty":1073,"author":1074,"museum":1075,"description":5833,"tags":5834,"thumbUrl":5835,"material":1098,"size":5836,"collection":6,"collections":5837,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[1055,1058,1059,1110,1060,1078,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[6],{"id":525,"slug":5839,"title":5840,"dynasty":1300,"author":5841,"museum":1075,"description":5842,"tags":5843,"thumbUrl":5845,"material":3329,"size":5846,"collection":1187,"collections":5847,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-hua-sui-chao-tu-li-shi-zhuo-236751","指画岁朝图","李世倬","此画名为岁朝图。中国传统的农历春节为一年之始，故名“岁朝”。本幅通过童子将怀抱的花瓶进献给手持如意的老者的情景着新岁吉祥如意的开始。\n整幅作品全用手指沾墨绘就，别有一种苍茫古雅的趣味。",[1057,1058,1061,5844,1080,1160,1180,2236,1062],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d88d01db1c3c131c37fbf3ed2b5343e.jpg","纵104.5厘米，横46.3厘米",[1187,1189,6],{"id":526,"slug":5849,"title":5850,"dynasty":1173,"author":5851,"museum":1075,"description":5852,"tags":5853,"thumbUrl":5856,"material":1098,"size":1064,"collection":1309,"collections":5857,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[1056,1057,1058,1110,1080,1177,1450,2442,5854,5855,1059,1062],"山坡","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[1309,1189,6],{"id":527,"slug":5859,"title":5860,"dynasty":1156,"author":2361,"museum":1287,"description":5861,"tags":5862,"thumbUrl":5863,"material":4328,"size":5864,"collection":6,"collections":5865,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[1055,1056,1058,1110,1078,1291,1059,1093,1062,1112,1292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[6],{"id":528,"slug":5867,"title":5868,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":5869,"thumbUrl":5871,"material":1098,"size":1064,"collection":6,"collections":5872,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shou-gao-zhen-ji-di-zang-pu-sa-jiu-hua-shan-ying-ji-ji-hong-yi-fa-shi-223272","手稿真迹-地藏菩萨九华山应蹟记",[1055,1059,1060,1534,1110,1112,1062,5870],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff73b63ea74c5c2705758cb2bd5ea5a.jpg",[6],{"id":529,"slug":5874,"title":5875,"dynasty":1173,"author":1601,"museum":1052,"description":5414,"tags":5876,"thumbUrl":5877,"material":1098,"size":5417,"collection":6,"collections":5878,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-tie-bai-ma-pian-zhu-yun-ming-222478","诗帖《白马篇》",[1055,1056,1057,1058,1110,1148,1093,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747861785a4e69632da691f06e6f31d3.jpg",[6],{"id":530,"slug":5880,"title":5881,"dynasty":1050,"author":5882,"museum":1052,"description":5883,"tags":5884,"thumbUrl":5886,"material":1220,"size":5887,"collection":6,"collections":5888,"showCount":5785,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[1055,1057,1058,1110,1178,1080,1177,1059,1060,3975,5885,1555,1450,3542,2198],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","纵50.8厘米，横136.4厘米",[6],{"id":531,"slug":5890,"title":5891,"dynasty":1300,"author":5892,"museum":5893,"description":5894,"tags":5895,"thumbUrl":5900,"material":1098,"size":5901,"collection":6,"collections":5902,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-zhou-zhao-zhi-chen-241394","七绝轴","赵之琛","南京博物院","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[1059,1956,1513,1061,3115,5896,5897,5898,1766,5899],"寒景","清风","飞","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[6],19,{"id":532,"slug":5905,"title":5906,"dynasty":1173,"author":5369,"museum":1075,"description":5907,"tags":5908,"thumbUrl":5909,"material":1098,"size":1064,"collection":6,"collections":5910,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-fu-shu-juan-wang-shou-ren-240994","致父书卷","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[1059,1060,1110,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e954c78860c35d7dca1d080111ae09.jpg",[6],{"id":533,"slug":5912,"title":5913,"dynasty":1300,"author":1576,"museum":1075,"description":5914,"tags":5915,"thumbUrl":5916,"material":5917,"size":5918,"collection":6,"collections":5919,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yang-yi-sun-zhuan-shu-qi-yan-lian-yang-yi-sun-240851","杨沂孙篆书七言联","释文：梅花有香清在骨，谏果之味美于回。梦陶世讲兄雅正。濠叟杨沂孙书。\n款署：“梦陶世讲兄雅正。濠叟杨沂孙书。”钤“杨沂孙印”白文印、“濠叟”白文印、“历劫不磨”朱文印。\n此幅是杨沂孙为友人所作篆书对联，笔力苍劲，篆法精纯，结构严整，表现出其晚年篆书的成熟面貌。",[1059,1513,1580,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751fd00444ea219ce8358b97c8085aec.jpg","纸本，篆书","纵133厘米，横29.8厘米",[6],{"id":534,"slug":5921,"title":5922,"dynasty":1300,"author":5841,"museum":1287,"description":5923,"tags":5924,"thumbUrl":5925,"material":1064,"size":1064,"collection":6,"collections":5926,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[1057,1058,1061,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[6],{"id":535,"slug":5928,"title":5929,"dynasty":1300,"author":5669,"museum":1075,"description":5930,"tags":5931,"thumbUrl":5932,"material":1064,"size":1064,"collection":6,"collections":5933,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-lun-shu-juan-weng-fang-gang-240054","行书论书卷","翁方纲(1733～1818)，字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴(今北京大兴区)人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。历督广东、江西、山东三省学政，官至内阁学士。精通金石、谱录、书画、词章之学，书法与同时的刘墉、梁同书、王文治齐名。",[1055,1060,1059,1110,1062,1098,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e94a414d463d97def4dd844bf31d23.jpg",[6],{"id":536,"slug":5935,"title":5700,"dynasty":1173,"author":5936,"museum":1075,"description":5937,"tags":5938,"thumbUrl":5939,"material":1098,"size":5940,"collection":6,"collections":5941,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-ni-yuan-lu-239988","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[1057,1058,1061,1062,1060,1148,1059,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[6],{"id":537,"slug":5943,"title":5944,"dynasty":1300,"author":1510,"museum":1287,"description":5945,"tags":5946,"thumbUrl":5947,"material":1064,"size":1064,"collection":6,"collections":5948,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lian-wu-chang-shuo-239945","七言联","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[1057,1058,1061,1080,1062,1580,1060,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[6],{"id":538,"slug":5950,"title":5951,"dynasty":1173,"author":5952,"museum":1287,"description":5953,"tags":5954,"thumbUrl":5955,"material":1064,"size":1064,"collection":6,"collections":5956,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ming-dai-ming-ren-gu-yan-wu-deng-shu-han-ce-shen-hong-239889","明代名人，顾炎武等书翰册","沈泓","沈泓，生卒年不详。字临秋，一作临求，号悔庵，一作晦庵，浙江嘉善人，一说松江华亭（今属上海）人 。崇祯十六年（1643年）进士，官刑部主事。明亡自缢，获救不死。后为僧，名宏坚。著有《易宪》四卷。\n沈泓命运多舛，出生才5个月，父亲就故世。母亲宋氏年仅23岁，执意守节，独自抚养儿子。沈泓三四岁时，便能背诵母亲教授的孝经。6岁时常临摹父亲留下的书字，常因此触景生情而抱母痛哭，人都称其为孝子。崇祯二年（1629年）母亲病故，他抚棺恸哭不止。此后食蔬4年守于墓侧，乡人无不感动。崇祯六年（1633年）沈泓中举人后，即为母亲陈述苦节，事载松江府志，并蒙恩旨旌表，建完节坊。沈泓的孝名在《枫泾小志》也多有记载，如娄县沈祥龙序曰：“沈进士泓以孝行称许”。\n沈泓的孝还引出过一段逸事。据《续修枫泾小志》记述：沈泓曾为节母求得海内诗文数百篇，不料被盗，他号泣于路上整整7天不肯离去。不久的一天，佘山寺老僧早晨起来见到供桌上有一卷书，上留条：“烦上人亲致沈孝子”。原来窃贼也被沈泓的孝心感化了，于是沈的诗文又失而复得。\n沈泓中进士后，官邢部主事。但不久便请辞归故里，意欲回乡葬亲后再为朝廷履职。明亡后，他悲痛欲绝，绝意遁入佛门，曰：“吾君亲两负求死不得，唯有祝发空门或可自靖耳！”遂投雪峤禅师缁染，改名宏坚，徙住会稽东山庆国寺。后因患病不肯医治而去世。",[1059,1513,1079,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aada180879d35b33f232b588c4bd551.jpg",[6],{"id":539,"slug":5958,"title":5959,"dynasty":1173,"author":1935,"museum":1287,"description":5960,"tags":5961,"thumbUrl":5962,"material":1064,"size":1064,"collection":6,"collections":5963,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-zhou-wen-shi-chi-du-ce-zhi-tai-xue-shao-xi-wen-wen-tie-wen-zheng-ming-239721","长洲文氏尺牍册-致太学少溪闻问帖","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[1058,1059,1079,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8907891c275c343bda4bc9f20d352bce.jpg",[6],{"id":540,"slug":5965,"title":5966,"dynasty":1173,"author":5967,"museum":1287,"description":5968,"tags":5969,"thumbUrl":5970,"material":1098,"size":1064,"collection":2093,"collections":5971,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[1057,1080,1178,1061,1177,1059,1062,1182,1183,1450,1906,2842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[2093,1189,6],{"id":541,"slug":5973,"title":5974,"dynasty":1173,"author":2116,"museum":1287,"description":5975,"tags":5976,"thumbUrl":5977,"material":1064,"size":1064,"collection":6,"collections":5978,"showCount":5903,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[1057,1058,1061,1080,1177,1060,1178,1348,1450,1182,2418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[6],{"id":542,"slug":5980,"title":5981,"dynasty":1173,"author":4344,"museum":1287,"description":4346,"tags":5982,"thumbUrl":5983,"material":1098,"size":1064,"collection":6,"collections":5984,"showCount":5903,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"li-he-shi-tie-wang-duo-222531","李贺诗帖",[1055,1059,1060,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fa1710ac29f4310f484eeb559b23ee.jpg",[6],{"id":543,"slug":5986,"title":3485,"dynasty":1173,"author":1935,"museum":1287,"description":5987,"tags":5988,"thumbUrl":5989,"material":1165,"size":5990,"collection":6,"collections":5991,"showCount":5903,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"qian-zi-wen-quan-juan-wen-zheng-ming-222013","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[1055,1059,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg","31厘米x284厘米",[6],{"id":544,"slug":5993,"title":5994,"dynasty":1300,"author":2361,"museum":1287,"description":5995,"tags":5996,"thumbUrl":5997,"material":1064,"size":1064,"collection":6,"collections":5998,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"lan-ting-ba-zhu-tie-feng-cheng-su-mo-lan-ting-xu-yi-ming-242172","《兰亭八柱帖》冯承素摹兰亭序","此帖墨色匀净沉凝，将原作秀逸风骨尽数复刻。行笔翩跹灵动，提按转折之间尽显王羲之原作的萧散雅致，把永和雅集的林下风流晕染在碑石之上。朱红鉴藏印错落排布，与乌亮墨色相映成趣，既带着法帖的端严沉静，也藏着历代递藏的厚重底蕴。刀工复刻出笔锋毫厘变化，让晋人书法的清远神韵留存于碑拓之间，复刻的是千年之前的兰亭雅韵，亦是碑刻工艺的匠心造诣，方寸间尽显古典书法与金石拓印融合的独有美感。",[1059,1060,1291,1290,1062,1079,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e19709cea513b71ce2fe7509ce25dfc.jpg",[6],18,{"id":545,"slug":6001,"title":6002,"dynasty":1073,"author":1074,"museum":1287,"description":6003,"tags":6004,"thumbUrl":6005,"material":1098,"size":1064,"collection":6,"collections":6006,"showCount":5999,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[1056,1057,1058,1110,1080,1060,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[6],{"id":546,"slug":6008,"title":6009,"dynasty":1173,"author":6010,"museum":1075,"description":6011,"tags":6012,"thumbUrl":6013,"material":1098,"size":6014,"collection":6,"collections":6015,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-wang-xian-zhi-shu-zhou-xing-dong-240877","临王献之书轴","邢侗","释文：\n得袁二谢书，一一为慰。袁生蹔至都。已还未及。此生至到之怀吾所也。邢侗临。\n本幅钤“邢侗之印”、“子愿氏”。收藏印钤“石雪斋秘笈印”、“宗浩长寿”、“石雪鉴藏”、“存精寓赏”。\n本幅为邢侗临王羲之《袁生帖》，笔法纵横雄浑，飘逸峻爽，形体宽博丰茂，风格质朴。邢侗的书法受二王书法影响很深，正如周之士所言：“近代邢子愿书，研精二王，笔法恒仿佛十七帖意，即其卷素所书，迹多述王帖，可谓极意临摹者矣。”",[1059,1291,1148,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73efa4fce0dfe6e866f245d89eefb0e2.jpg","纵139.4，横47厘米",[6],{"id":547,"slug":6017,"title":5299,"dynasty":1300,"author":6018,"museum":1075,"description":6019,"tags":6020,"thumbUrl":6021,"material":1098,"size":6022,"collection":6,"collections":6023,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-lian-yi-bing-shou-240691","伊秉绶","释文：\n为文以载道，论诗将通禅。 书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[1059,1580,1956,1080,1062,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[6],{"id":548,"slug":6025,"title":6026,"dynasty":1300,"author":4145,"museum":1287,"description":6027,"tags":6028,"thumbUrl":6029,"material":2669,"size":2815,"collection":6,"collections":6030,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-zha-ce-lin-ze-xu-240290","书札册","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[1058,1059,1079,1060,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9261725c6f352b4da59444ba8901ae6d.jpg",[6],{"id":549,"slug":6032,"title":6033,"dynasty":1173,"author":2898,"museum":1287,"description":6034,"tags":6035,"thumbUrl":6036,"material":1064,"size":1064,"collection":6,"collections":6037,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-juan-zhang-bi-239979","七律卷","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[1055,1059,1058,1148,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[6],{"id":550,"slug":6039,"title":6040,"dynasty":1073,"author":3151,"museum":1075,"description":6041,"tags":6042,"thumbUrl":6043,"material":1060,"size":6044,"collection":6,"collections":6045,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[1055,2011,1059,1060,1080,1160,1180,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[6],{"id":551,"slug":6047,"title":6048,"dynasty":1050,"author":6049,"museum":1075,"description":6050,"tags":6051,"thumbUrl":6052,"material":5609,"size":6053,"collection":6,"collections":6054,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"da-nian-tie-ye-xue-shao-peng-239641","大年帖页","薛绍彭","释文：\n绍彭启：多日廷中不得少款为慊。晴和，想起居佳安。二画久假，上还，希检收。许借承晏、张遇墨，希示一观，千万，千万！承晏若得真完，虽《异热帖》亦可易。更俟续布，不具。绍彭再拜，大年太尉执事。廿八日。\n此帖名也作《晴和帖》。\n这是一封与藏友谈论藏品观摩与交流事宜的书信。信中首先提到归还两幅久借的绘画，然后表示希望借观对方所藏制墨名家李承晏、张遇所制名墨。并云李承晏墨如是完整的真品，愿以自藏王羲之《异热帖》与之交换。信的上款“大年太尉”，据考证应是北宋宗室、名画家赵令穰。\n此帖行笔圆健，结字安详，从容不迫，深得“二王”遗韵，是薛氏的代表作品。上钤“贞元”、“绍兴”等半印，裱工钤“许子仙鉴定印”“许烈之印”“孔氏季修”“受青”等印。\n《寓意编》、《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》等书著录。",[1059,1060,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906b52ab4e543f0ab50096f3290f53fe.jpg","纵25.1厘米，横34.8厘米",[6],{"id":552,"slug":6056,"title":6057,"dynasty":1073,"author":4173,"museum":1075,"description":6058,"tags":6059,"thumbUrl":6060,"material":6061,"size":6062,"collection":6,"collections":6063,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[1061,1060,1059,1080,1556,3924,5565,5551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[6],{"id":553,"slug":6065,"title":6066,"dynasty":1073,"author":4867,"museum":1075,"description":6067,"tags":6068,"thumbUrl":6069,"material":1064,"size":1064,"collection":6,"collections":6070,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[1055,1056,1057,1058,1110,1060,1148,1059,1062,2236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[6],{"id":554,"slug":6072,"title":6073,"dynasty":1173,"author":6074,"museum":1075,"description":6075,"tags":6076,"thumbUrl":6085,"material":1078,"size":6086,"collection":6,"collections":6087,"showCount":5999,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ti-zhuo-qing-xuan-shi-ye-xu-ben-239569","题濯清轩诗页","徐贲","此作录五律一首，见于徐贲《北郭集》卷四。书法秀整端严，清逸可爱，具唐楷古意，与明初台阁体圆秀一路相比，自成一格，体现出徐贲书法的特色。此作曾经清安岐鉴藏。",[1060,1059,1062,1080,6077,6078,6079,6080,2934,6081,1794,6082,6083,6084],"春江","清江","流芥","渚","沙鸥","钓舟","沧浪","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2beb26a8fa2e205a867c0441a530bd.jpg","纵17.6厘米，横7厘米",[6],{"id":555,"slug":6089,"title":6090,"dynasty":1073,"author":1074,"museum":1075,"description":6091,"tags":6092,"thumbUrl":6093,"material":6094,"size":6095,"collection":6,"collections":6096,"showCount":5999,"zanCount":1385,"manualWeight":1068,"mainColor":1069},"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[1055,1059,1058,1110,1060,1080,1111,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\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，横59.1cm",[6],{"id":566,"slug":6182,"title":6183,"dynasty":1300,"author":1301,"museum":1287,"description":6184,"tags":6185,"thumbUrl":6186,"material":1098,"size":1064,"collection":6,"collections":6187,"showCount":1102,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"zheng-xie-shi-zhou-zheng-ban-qiao-240602","郑燮诗轴","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。 代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。”\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n②峰石图:郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。",[1059,1060,1062,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434cdb4e2ed64e8239b9850672b71425.jpg",[6],{"id":567,"slug":6189,"title":5700,"dynasty":1173,"author":6190,"museum":1287,"description":6191,"tags":6192,"thumbUrl":6193,"material":1098,"size":1064,"collection":6,"collections":6194,"showCount":1102,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shi-zhou-tang-huan-240329","汤焕","汤焕，生卒年不详，字尧文，号邻初，斋号五桂轩等。仁和(今浙江杭州)人。擅书法，亦工篆刻，有诗名。与许光祚同郡，时人号曰“汤许”。",[1056,1057,1058,1061,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a280ab1f6e9d145161fe000d26e5da8.jpg",[6],{"id":568,"slug":6196,"title":6197,"dynasty":1173,"author":6198,"museum":4957,"description":6199,"tags":6200,"thumbUrl":6201,"material":1098,"size":1064,"collection":6,"collections":6202,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-gao-ce-cheng-jia-sui-24005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。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[1055,1059,1110,1060,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[6],{"id":571,"slug":6221,"title":6222,"dynasty":1073,"author":4867,"museum":1075,"description":6223,"tags":6224,"thumbUrl":6225,"material":1493,"size":6226,"collection":6,"collections":6227,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[1055,1059,1148,1110,1062,1111,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[6],{"id":572,"slug":6229,"title":6230,"dynasty":1300,"author":6231,"museum":1287,"description":6232,"tags":6233,"thumbUrl":6235,"material":1064,"size":1064,"collection":2093,"collections":6236,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[1057,1058,1061,1160,1180,1451,6234,1350,3924,1178,1062,1059,1060],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[2093,1189,6],{"id":573,"slug":6238,"title":6239,"dynasty":1156,"author":2361,"museum":1075,"description":6240,"tags":6241,"thumbUrl":6242,"material":6243,"size":6244,"collection":6,"collections":6245,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[1055,1059,1112,1110,1078,1062,1098,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[6],{"id":574,"slug":6247,"title":6248,"dynasty":1173,"author":4344,"museum":1564,"description":4346,"tags":6249,"thumbUrl":6250,"material":1098,"size":6251,"collection":6,"collections":6252,"showCount":1102,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"san-tan-shi-juan-wang-duo-222528","三潭诗卷",[1055,1059,1110,1956,1062,3115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76e495d10d9e265c6a85b332c96765.jpg","横261.2，纵27.3厘米",[6],{"id":575,"slug":6254,"title":5929,"dynasty":1173,"author":2655,"museum":6255,"description":6256,"tags":6257,"thumbUrl":6258,"material":3804,"size":6259,"collection":6,"collections":6260,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"xing-shu-lun-shu-juan-zhang-rui-tu-222059","安徽省博物馆","在章法上紧压字距，疏空行间，使整幅书法的行气之间，呈现出一种有序的控制，不仅避免了散漫无章、眼花缭乱的现象，而且在横向展开的长卷上造就了满纸烟云、一泻千里的气势，给观者在视觉上带来了很大的冲击，令人有荡气回畅之叹。\n用笔上方峻刻峭，多使偏侧之锋，起笔以挫为主，落笔起止斩斫，翻折顿挫迅捷，提按起伏坚韧有力，横撑竖持跳跃使转，夸张多变—奇险莫测。笔画伸展倾斜度颇大，才以轻捷的露锋落墨，随即铺锋重重带过，至折转处又突然翻折笔锋，用尖刻的锋颖与锐利的方折及紧密至不透风的横画排列相结合，形成折带摇荡的鲜明节律。这种大翻大折、突出横向的动态，一变历代行草书以圆转取纵势的笔法，代之以方峻峭刻取胜。\n整卷作品非常和谐，其以方折之笔横斫，以连绵之势密布，以宽舒之阵排列，屈突又缓徐，硬辣又飘逸，局促又拓展，撑挫又连绵，用众多的反常又合度的笔法组成一幅壮美的图画，这种“壮美”，既是在艰难跳荡中臻至和谐的美，也是在凛厉捕杀中寻求平和的美，更是一种由悲怆激越转向平和放逸的美。此处其在挫与撑的变化和统一之主旋律中，还讲究墨韵的变化，笔墨丰满敦厚，气象淋漓酣畅加之笔画实重，少见轻飘之笔，故而形成了有别于前人和时人的鲜明个人特点。此卷乃中年行草，比之晚年草书更见平和散淡，不仅转折处多婉转而少侧锋偃笔，且结体虽奇崛，风格虽猛利，但并未失之狂诞。其书写的特征与当时的心态互为表里：在“禅味”的书法中化解胸中的痛苦和无奈。由此也证明了他是一位善于进取、勇于创造的大师。他的进取曾使自己从一介寒士跃而跻身朝廷重臣之列，他的创造又使自己从一个政治上的失败者锤炼成一个艺术的胜利者。",[1055,1056,1057,1058,1110,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d99cd364f826c734d511374e5810c1b.jpg","纵25厘米横274厘米",[6],{"id":576,"slug":6262,"title":6263,"dynasty":1073,"author":4578,"museum":6264,"description":6265,"tags":6266,"thumbUrl":6267,"material":1482,"size":6268,"collection":6,"collections":6269,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-221854","姨母育佛图卷白描全卷","波士顿美术馆","此幅中年幼的佛陀，即释达多王子，在其母摩耶皇后亡故之后由皇后之妹，即佛祖的姨母，摩诃波闻波提养育照顾。佛的同父异母兄弟提婆达多，即姨母亲子，正由侍女搀扶，从其母身边引领离开，提婆达多的小脚　　虽然踏向座榻的边缘，却依然不舍回望母亲。姨母对佛陀的照顾，却是心不二用，左手握寿桃一枚，右臂环护怀中的幼佛，佛之形象作中国婴孩状，见桃心喜，手舞足蹈，一意索取。　　王振鹏在画中并用界笔与铁线描，对图中繁杂的人与物加以精心勾勒，并以淡墨渲染衣纹幔褶、器物形状，及树石的肌理。画幅所显的屋舍之中悬挂珠宝璎珞，陈设异国珍玩，经营出一所想象中的印度皇宫内苑。\n细观察之下，在菩提树杆的下端，接近狮背之处有墨书小楷“振鹏”二字。王振鹏与与佛教的关系来自其信佛的家庭背景，兄王龙孙出家为僧，法名善集，其祖王挺亦以好佛为人所知。　　画卷前有明代杨承鲲（？-1589）所题《心经》。前隔水中有明代邢侗所题，曰：“此是龙眠画中台阁手，余家所藏楚骚《九歌》，是林薮笔，总之精诣已极，不妨并媺。弟从轻纹细墨处，自为磐薄高踪，是安可语神骏观也。八月初三日，济南邢侗敬题。”后有清人钱维乔、钱大昕、鲁爽良跋尾。另有近代完颜景贤鉴藏印，及“张氏清河”白文印记。",[1055,1057,1058,1110,1448,1534,1180,5405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e49ea6b1b965fc93471f8f2e4723b9.jpg","整幅31.9*508cm，画芯31.9*94.9cm",[6],{"id":577,"slug":6271,"title":6272,"dynasty":1156,"author":2361,"museum":1287,"description":6273,"tags":6274,"thumbUrl":6275,"material":1064,"size":1064,"collection":6,"collections":6276,"showCount":1102,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gu-wen-shang-shu-di-liu-juan-yi-ming-221119","古文尚书第六卷","这卷纸本墨书纸色黄褐斑驳，残损处晕开旧时光晕。其书为唐人小楷，笔意朴茂端雅，承魏晋写经遗风，行笔匀净安稳，结体方整古拙，字字凝练沉静。行间留存多处涂改标注，是钞录时的鲜活痕迹，带着手抄典籍的温度。它兼具书法艺术与文献双重价值，笔墨间尽显唐人笃实沉厚的抄录态度，简淡静雅的书风晕染着千年古籍的朴茂古意，残损的纸页更添岁月赋予的厚重质感，静静诉说着唐时经籍传抄的旧日风貌。",[1055,1059,1110,1414,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723f26cb993dd22b55d581b75c4f4496.jpg",[6],{"id":578,"slug":6278,"title":6279,"dynasty":1173,"author":1935,"museum":1122,"description":6121,"tags":6280,"thumbUrl":6281,"material":1098,"size":6282,"collection":6,"collections":6283,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wen-zheng-ming-qi-lv-zhou-wen-zheng-ming-241023","文徵明七律轴",[1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb289ecb6cf34a734aeb3805290642f.jpg","纵122厘米，横59.6厘米",[6],16,{"id":579,"slug":6286,"title":5700,"dynasty":1173,"author":6287,"museum":1287,"description":6288,"tags":6289,"thumbUrl":6290,"material":1098,"size":1064,"collection":6,"collections":6291,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-wen-ru-yu-240355","温如玉","温如玉（？－？），字孟纯，湖广郧阳府郧县人，民籍，明朝政治人物。\n湖广乡试第九十名举人。嘉靖三十二年（1553年）中式癸丑科三甲第六名进士\n曾祖温聪，寿官；祖父温淮；父温昕，母左氏",[1059,1061,1956,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeae85209175e7d2860acc08766e7b1.jpg",[6],{"id":580,"slug":6293,"title":6294,"dynasty":1173,"author":4344,"museum":1122,"description":4753,"tags":6295,"thumbUrl":6296,"material":3804,"size":6297,"collection":6,"collections":6298,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-lun-shu-zhou-wang-duo-240142","书论书轴",[1059,1060,1061,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0309d6d4104f01e2fe77c767436bffdb.jpg","186.8X50.7厘米",[6],{"id":581,"slug":6300,"title":6301,"dynasty":1300,"author":6302,"museum":1287,"description":6303,"tags":6304,"thumbUrl":6305,"material":1098,"size":1064,"collection":6,"collections":6306,"showCount":6284,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"jie-lu-ban-biao-lie-zhuan-zhou-zhang-ting-ji-240061","节录班彪列传轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。\n张廷济的藏品上自商周下至近代，其中不少鼎彝碑版及青铜器是珍贵的罕见品。还收藏有大量周秦以来的钱币。善书画，能篆、隶，精行、楷，初规摹 游戏作梅，颇多古趣。嘉庆二十五年（一八二〇）尝仿 阮元督学浙江时极推重，来往密切，订为金石交。卒年八十一。传世书迹颇富。",[1061,1956,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0d468ab6fa0b1a76746b2f1b274cb4.jpg",[6],{"id":582,"slug":6308,"title":6309,"dynasty":1173,"author":1174,"museum":1075,"description":6310,"tags":6311,"thumbUrl":6312,"material":1064,"size":1064,"collection":6,"collections":6313,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"you-zhang-gong-dong-ji-shen-zhou-240027","游张公洞记","沈周（1427～1509）明代杰出书画家。沈周的书法学黄庭坚，书风“遒劲奇崛”。",[1055,1056,1058,1059,1110,1060,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454502c97f02fbc6bb94cacdb339fab.jpg",[6],{"id":583,"slug":6315,"title":6316,"dynasty":1173,"author":6317,"museum":1287,"description":6318,"tags":6319,"thumbUrl":6320,"material":1064,"size":1064,"collection":6,"collections":6321,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"shu-si-wu-xie-zhou-zhu-you-jian-239700","书思无邪轴","朱由检","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位） ，也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。 即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵 ，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[1059,1060,1080,1061,1062,1058,1057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[6],{"id":584,"slug":6323,"title":6324,"dynasty":1073,"author":4354,"museum":1075,"description":6325,"tags":6326,"thumbUrl":6327,"material":1064,"size":1064,"collection":6,"collections":6328,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"du-fu-wei-jiang-jun-ge-juan-xian-yu-shu-239686","杜甫魏将军歌卷","释文：将军昔着从事衫，铁马弛突重两衔。被坚执锐略西极，昆仑月窟东巉岩。君门羽林万猛士，恶若哮虎子所监。五年起家列霜戟，一日过海收风帆。平生流辈徒蠢蠢，长安少年气欲尽。魏侯骨耸精神紧，华岳峰尖见秋隼。星躔宝校金盘陀，夜骑天驷超天河。搀枪荧惑不敢动，翠蕤五旓相荡摩。吾为子起歌部擭，酒阑插剑肝胆露。勾陈苍苍风玄武，万岁千秋奉明主，临江节士安足数。",[1055,1059,1148,1110,1062,2011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccb3a98ca28892a94249052f0114102.jpg",[6],{"id":585,"slug":6330,"title":6331,"dynasty":1050,"author":1051,"museum":1287,"description":6332,"tags":6333,"thumbUrl":6334,"material":1064,"size":1064,"collection":6,"collections":6335,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[1732,1059,1060,1062,1058,1111,1098,4506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[6],{"id":586,"slug":6337,"title":6338,"dynasty":1173,"author":3291,"museum":1075,"description":6339,"tags":6340,"thumbUrl":6341,"material":1148,"size":6342,"collection":6,"collections":6343,"showCount":6284,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"zi-shu-shi-juan-jie-jin-239628","自书诗卷","解缙《自书诗》卷释文\n本幅共录自作诗 7首，是解缙于1407――1410年在广西、交阯为官期间所作。除第六首《过藤县》外，其余 6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[1055,2173,1059,1058,1110,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[6],{"id":587,"slug":6345,"title":6346,"dynasty":1073,"author":4867,"museum":1287,"description":6347,"tags":6348,"thumbUrl":6349,"material":1064,"size":1064,"collection":6,"collections":6350,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yan-xiao-ao-dong-xuan-shi-ye-yang-wei-zhen-239614","宴啸傲东轩诗页","《杨维桢行书宴啸傲东轩诗页》是元代时期杨维桢创作的书法作品。\n《宴啸傲东轩诗》页，此页为“天乐大尹”书自作七律一首。\n信手涂抹，墨气淋漓。\n虽系小品，亦颇见性格。\n作品释文： □□老人宴余啸傲东轩。\n座客陈君章、林子山、任叔达、任孟举。\n主者仲氏千里，子仲行、季文、高第，弟子任衡、张师周。\n席上赋诗一解，率诸客用韵成什。\n寄傲先生不乞灵，遥瞻江水接天青。\n未随汉使槎横斗，自爱郝郎书满庭。\n破镜飞来开月殿，洗车过去勒云軿。\n君看天上双星会，不似人间聚德星。\n明日书此纸会乩，抱遗叟杨维桢再拜。\n天乐大尹见此，聊发一卢胡也。\n本幅署款“抱遗叟杨维桢再拜”，钤“杨廉夫”（白文）、“铁笛道人”（朱文）二印。\n有清代安岐，近代何厚琦、赵叔彦、完颜景贤、张爰、谭敬等家鉴藏印。\n收入清代安岐旧藏《元法书大观》册中。",[1059,1060,1062,1248,1267,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2a5be279f5460e62d5489b0d1ab9.jpg",[6],{"id":588,"slug":6352,"title":6353,"dynasty":1300,"author":4768,"museum":1287,"description":6354,"tags":6355,"thumbUrl":6356,"material":1064,"size":1064,"collection":1187,"collections":6357,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[1057,1058,1056,1061,1160,1161,1180,1208,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[1187,6],{"id":589,"slug":6359,"title":6360,"dynasty":1300,"author":6361,"museum":1287,"description":6362,"tags":6363,"thumbUrl":6364,"material":1064,"size":1064,"collection":2093,"collections":6365,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-tu-ce-xiao-yi-yun-236341","山水图册","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[1057,1058,1079,1160,1178,1348,1555,1450,1182,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[2093,2241,6],{"id":590,"slug":6367,"title":4334,"dynasty":1300,"author":6368,"museum":1287,"description":6369,"tags":6370,"thumbUrl":6371,"material":1064,"size":1064,"collection":2093,"collections":6372,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-ce-mei-geng-235374","梅庚","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[1057,1058,1079,1080,1178,1177,1180,1182,3539,2442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[2093,6],{"id":591,"slug":6374,"title":4334,"dynasty":1300,"author":6375,"museum":1075,"description":6376,"tags":6377,"thumbUrl":6378,"material":1307,"size":1064,"collection":2093,"collections":6379,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[1057,1058,1079,1080,1177,1060,1062,1178,1182,1450,3955,3198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[2093,2241,6],{"id":592,"slug":6381,"title":6382,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":6383,"thumbUrl":6385,"material":1098,"size":6386,"collection":6,"collections":6387,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xin-jian-hong-yi-fa-shi-223265","信笺",[1055,1579,1060,6384,1080,1614,5870,1062],"毛笔书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd65ef2310e07f4469e23d873b355d.jpg","35x124",[6],{"id":593,"slug":6389,"title":6390,"dynasty":1173,"author":4344,"museum":1287,"description":4346,"tags":6391,"thumbUrl":6392,"material":1064,"size":6393,"collection":6,"collections":6394,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[1055,1058,1059,1291,1060,1062,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[6],{"id":594,"slug":6396,"title":2752,"dynasty":1173,"author":1601,"museum":1287,"description":6397,"tags":6398,"thumbUrl":6399,"material":1064,"size":1064,"collection":6,"collections":6400,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[1055,1056,1057,1058,1110,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[6],{"id":595,"slug":6402,"title":6403,"dynasty":1173,"author":1935,"museum":1122,"description":6404,"tags":6405,"thumbUrl":6406,"material":1098,"size":6407,"collection":6,"collections":6408,"showCount":6284,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-shi-zi-chen-chao-xia-xi-ling-si-wen-zheng-ming-222011","七律诗紫宸朝下锡灵丝","释文：紫宸朝下锡灵丝，金水桥边拜命时。文绣自天腾五色，光华约臂结双螭。重惭潦倒随恩泽，还忝班行覩盛仪。愿得君王千万寿，日华常照衣垂。",[1055,1061,1093,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aedd5b1f44b8115a589c2a4d9a452b.jpg","122x59cm",[6],{"id":596,"slug":6410,"title":6411,"dynasty":1173,"author":2116,"museum":1052,"description":6412,"tags":6413,"thumbUrl":6414,"material":1220,"size":6415,"collection":6,"collections":6416,"showCount":6284,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"du-fu-ye-xuan-yuan-huang-di-miao-shi-dong-qi-chang-220951","杜甫谒玄元皇帝庙诗","董宗伯先生书法之妙。世皆知之。然皮相者。先生之行草耳。而?笔十居其七。至于楷法。世人未许梦见。此书乃先生用意临摹。楮墨精好。此予久在先生门下。见其运笔之妙。否则不知其精神所（脱一字）也。此不特得徐浩之法。兼得欧颜之神。非磨墨万锭。未可与窥其奥也。雪蓑声识。",[1055,1059,1060,1291,1062,1080,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccdd89d8a380d7541d59de2edeef33a.jpg","181.5×46.1",[6],{"id":597,"slug":6418,"title":6419,"dynasty":1173,"author":6317,"museum":1287,"description":6420,"tags":6421,"thumbUrl":6422,"material":1098,"size":1064,"collection":6,"collections":6423,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[1056,1057,1058,1110,1059,1060,1062,1592,2935,1825,2932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[6],15,{"id":598,"slug":6426,"title":6427,"dynasty":1300,"author":6428,"museum":1287,"description":6429,"tags":6430,"thumbUrl":6431,"material":1098,"size":1064,"collection":6,"collections":6432,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[6],{"id":599,"slug":6434,"title":6435,"dynasty":1173,"author":4344,"museum":1075,"description":6436,"tags":6437,"thumbUrl":6438,"material":5792,"size":6439,"collection":6,"collections":6440,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wang-duo-lin-tie-zhou-wang-duo-241029","王铎临帖轴","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[1058,1059,1148,1291,1061,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11035686ab901cae1a59409b3f1e394.jpg","纵235厘米，横52.7厘米",[6],{"id":600,"slug":6442,"title":6443,"dynasty":1173,"author":2361,"museum":1287,"description":6444,"tags":6445,"thumbUrl":6446,"material":2669,"size":2815,"collection":6,"collections":6447,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[1056,1057,1058,1079,1060,1080,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[6],{"id":601,"slug":6449,"title":6450,"dynasty":1300,"author":4324,"museum":1287,"description":6451,"tags":6452,"thumbUrl":6454,"material":2669,"size":2815,"collection":6,"collections":6455,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[1579,1060,1059,1058,1061,1080,1062,6453],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[6],{"id":602,"slug":6457,"title":6458,"dynasty":1300,"author":6459,"museum":1287,"description":6460,"tags":6461,"thumbUrl":6462,"material":1098,"size":6463,"collection":6,"collections":6464,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-wu-yan-shi-zhou-yang-fa-240058","篆书五言诗轴","杨法","释文：三寿作朋句，尊前递咏歌。先人锡名字，其意美如何。幸得康疆体，而能甲子过。相期保真性，霜雪去岩阿。同京老学长兄先生正之，上元杨法。",[1300,1058,1059,1513,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed047f8f8560782869c70394fcf33ef.jpg","100.5×43.5cm",[6],{"id":603,"slug":6466,"title":6467,"dynasty":1300,"author":4539,"museum":1075,"description":6206,"tags":6468,"thumbUrl":6473,"material":1064,"size":1064,"collection":6,"collections":6474,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗",[1058,1059,1060,1080,1062,1250,1251,6469,5565,6470,6471,6472,1556,1183],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[6],{"id":604,"slug":6476,"title":6477,"dynasty":1300,"author":4539,"museum":1075,"description":6206,"tags":6478,"thumbUrl":6479,"material":1064,"size":1064,"collection":6,"collections":6480,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-240032","原济书题雪江卷子诗页",[1059,1060,1080,1062,1058,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a26c844631d7bbf1965025ddc3e5ad.jpg",[6],{"id":605,"slug":6482,"title":6483,"dynasty":1300,"author":6484,"museum":1287,"description":6485,"tags":6486,"thumbUrl":6487,"material":1064,"size":1064,"collection":6,"collections":6488,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lun-gu-wen-li-yu-er-shuo-zhou-shen-zong-qian-239995","论古文俚语二说轴","沈宗骞","沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。早岁能书、画，小楷、章草及盈丈大字，皆具古人神致魄力。尝见赏于曹地山、钱辛楣﹝钱大昕﹞诸人。画山水、人物、传神，无不精妙。有淳化阁石刻。著《芥舟学画编》，痛斥俗学，阐扬正法，足为画道指南。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n辛楣亦翁方纲之友也.翁有（因曹卓亭归震泽致吴兴沈芥舟求画天际乌云句意附以诗往〉诗,吴兴沈芥舟应即指此人也.诗云:\n昔托无轩话旧悰，雨痕苦泥墨痕浓。请君略取蒙蒙意，淡著斜阳一两峯。\n无轩乃吴兴陈焯,亦可见陈与沈之交情.诗题内「曹卓亭」疑即此处所讲之「曹地山」.俟考.\n与晚清重臣曾国藩为挚友。",[1579,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860f0cab3e48339df4d1d4b6beed1223.jpg",[6],{"id":606,"slug":6490,"title":6491,"dynasty":1300,"author":6492,"museum":1075,"description":6493,"tags":6494,"thumbUrl":6495,"material":2039,"size":6493,"collection":6,"collections":6496,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"lin-ping-shu-tie-zhou-liang-guo-zhi-239703","临评书帖轴","梁国治","纵73.2厘米，横67.4厘米",[1058,1059,1061,1060,1291,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894ef876c8e0eb306d6a3d95aa3c625c.jpg",[6],{"id":607,"slug":6498,"title":6499,"dynasty":1156,"author":3603,"museum":1075,"description":6500,"tags":6501,"thumbUrl":6502,"material":4328,"size":3608,"collection":6,"collections":6503,"showCount":6424,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shan-jian-lv-juan-guo-quan-239680","善见律卷","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。",[1055,1059,1112,1078,1110,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b60fa620e7960390a17b52368f799f.jpg",[6],{"id":608,"slug":6505,"title":6506,"dynasty":1073,"author":1074,"museum":1075,"description":6507,"tags":6508,"thumbUrl":6509,"material":1098,"size":6510,"collection":6,"collections":6511,"showCount":6424,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[1055,1056,1057,1058,1110,1060,1059,1062,1080,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[6],{"id":609,"slug":6513,"title":6514,"dynasty":1073,"author":6515,"museum":1075,"description":6516,"tags":6517,"thumbUrl":6518,"material":1493,"size":6519,"collection":6,"collections":6520,"showCount":6424,"zanCount":1201,"manualWeight":1068,"mainColor":1103},"shao-zhi-shui-shi-juan-lu-ju-ren-239657","苕之水诗卷","陆居仁","《苕之水诗》卷释文\n卷前钤陆氏“云间”、“幽谷一叟”印2方；卷末钤陆氏 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梅公李年兄阁下。",[1055,1059,1060,6691,1062],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b2e89dd052f54067bdc45446f467.jpg",[6],{"id":632,"slug":6695,"title":6696,"dynasty":1173,"author":2655,"museum":1075,"description":6697,"tags":6698,"thumbUrl":6699,"material":5304,"size":6700,"collection":6,"collections":6701,"showCount":6598,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-qian-chi-bi-fu-zhang-rui-tu-222060","书前赤壁赋","这是一件张氏手书东坡《前赤壁赋》的行书作品，书于明季生产的云母册页上，以淡墨书熟，是功夫欠佳者所不敢办的，也为张氏墨迹中颇不多见的一路。册页在清初被改装为手卷，长近九米，字逾六百，当是晚年作。此卷曾为藏家姚文黛、赵光、王蒙泉所递藏。王蒙泉收藏的张氏墨迹，多且精，如其所藏册页等两种今皆在故宫博物院，亦钤有“文心审定”等印，可资考正。",[1055,1059,1060,1148,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85ac220810ce2fc5515833cedccc1c.jpg","30×506cm",[6],{"id":633,"slug":6703,"title":6704,"dynasty":1073,"author":6705,"museum":1052,"description":6706,"tags":6707,"thumbUrl":6708,"material":1278,"size":6709,"collection":6,"collections":6710,"showCount":6598,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-qi-yan-lv-shi-zhang-kui-221739","书七言律诗","张奎","本幅为《元人法书》第十四幅，用笔起伏多变化，在王献之的行书风格中，又融入怀素的笔意。全作挥洒自如，气脉酣畅，间杂章草笔法，益增古朴趣味。",[1055,1059,1058,1057,1060,1080,1349,1183,1425,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf32b20f8ec35220b4a6bb90ac51c54.jpg","24.5×49.1cm",[6],{"id":634,"slug":6712,"title":6713,"dynasty":1300,"author":5165,"museum":1287,"description":6714,"tags":6715,"thumbUrl":6716,"material":6717,"size":6718,"collection":6,"collections":6719,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-zhou-da-chong-guang-241086","七律轴","释文：\n比来佳自胜，别去念何如。江上一分手，山中两得书。情随篱菊老，秋与故人踈。燕许无先后，垂名及盛初。答长安友人作书为冉渠老公祖年台笑政。欝岗治弟笪重光。\n下钤：“笪重光印”、“欝岗精舍”、“江上外史”印3方。引首钤“华易□主”印。鉴藏印钤“养臣珍藏”。\n《五律诗》轴是笪重光写给冉渠的一首五言律诗。冉渠即吴湛，字伯其，号冉渠，睢阳(今河南商丘县)人，清代文人，清顺治十五年（1658年）进士，曾在笪重光的家乡镇江为官，汤斌为其撰《江南镇江府海防同知冉渠吴公墓志铭》。 笪重光的同乡著名书法家王文治在其所著《快雨堂题跋》中评笪重光的书法“上至章草，下至苏、米，靡所不习。书格超妙，飘然有凌云之气。”可谓推崇备至。笪重光生活的时代正是董其昌书风最为盛行之时，朝野上下以崇董为时尚，而笪重光的书法更强调师法古人，尤其注重用笔。笪重光书法比较注重用笔，在其所著《书筏》中即云：“横画之发（起笔）笔仰，竖画之发笔俯，撇之发笔重，捺之发笔轻……”此幅作品，点划圆润，运笔灵动自然，师法米芾，信笔任墨，字里行间充满沉着悠游风雅的意韵。",[1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16b47355590f53f076f3bf3c41e3b09.jpg","绫本，行草","纵242.8厘米，横52.5厘米",[6],{"id":635,"slug":6721,"title":6722,"dynasty":1300,"author":6723,"museum":1287,"description":6724,"tags":6725,"thumbUrl":6727,"material":1098,"size":1064,"collection":6,"collections":6728,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[1057,1058,1061,1060,1059,1062,1772,6726],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[6],{"id":636,"slug":6730,"title":6731,"dynasty":1300,"author":4539,"museum":1075,"description":6732,"tags":6733,"thumbUrl":6734,"material":6735,"size":6736,"collection":6,"collections":6737,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[1058,1061,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[6],{"id":637,"slug":6739,"title":6740,"dynasty":1173,"author":1935,"museum":1052,"description":6741,"tags":6742,"thumbUrl":6743,"material":1098,"size":6744,"collection":6,"collections":6745,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[1058,1061,1060,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[6],{"id":638,"slug":6747,"title":5944,"dynasty":1300,"author":5300,"museum":1052,"description":6748,"tags":6749,"thumbUrl":6750,"material":1098,"size":6751,"collection":6,"collections":6752,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lian-huang-yi-240192","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n黃易為詩人黃樹谷之子，曾任監生、官濟寧同知。其父工篆隸，通金石。黃易繼父業，以篆刻著稱於世。隸書摹《校官碑額》，小隸有似《武梁祠題字》。精於博古，喜集金石文字，廣搜碑刻，繪有《訪碑圖》，並著《小蓬萊閣金石文字》等。故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽，與丁敬並稱“丁黃”，為“西泠八家”之一。隸書《警語》，其書筆劃圓潤平實，氣勢宏大，深得古法，是謂大家。\n因為他與丁敬都研究金石學，兼擅篆刻，當時並稱丁黃。何元錫曾將二人印稿合揖成《丁黃印譜》。\n他有小心落墨，大膽奏刀一語，深得篆刻三昧。\n傳世墨跡有《節臨石門頌軸》《隸書軸》等。關於黃易的研究，以“西泠八家”研究學者朱琪的《黃易的生平與金石學貢獻》（《西泠印社重振金石學國際學術研討會論文集》）、《黃易家世考》《黃易字號齋室圖説》系列論文最為深入，並著有《黃易研究》《黃易年譜》等書稿。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。\n卒年五十九。著《小蓬萊閣詩鈔》等。",[1059,1580,1956,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2b8856755107c04017ba77501e242.jpg","纵123厘米，横30.5厘米",[6],{"id":639,"slug":6754,"title":6755,"dynasty":1300,"author":4539,"museum":1075,"description":6206,"tags":6756,"thumbUrl":6757,"material":1064,"size":1064,"collection":6,"collections":6758,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-xi-jin-qiao-shang-zuo-shi-shi-tao-240035","原济西津桥上作诗",[1059,1060,1080,1579,5227,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672cc5593011db22953ce5d243c66d5a.jpg",[6],{"id":640,"slug":6760,"title":5944,"dynasty":1300,"author":6761,"museum":1287,"description":6762,"tags":6763,"thumbUrl":6764,"material":1064,"size":1064,"collection":6,"collections":6765,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-yan-lian-tang-yi-fen-239944","汤贻汾","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[1579,1059,1580,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[6],{"id":641,"slug":6767,"title":6768,"dynasty":1173,"author":1601,"museum":1287,"description":5826,"tags":6769,"thumbUrl":6770,"material":1064,"size":1064,"collection":6,"collections":6771,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qiu-xing-ba-shou-juan-zhu-yun-ming-239876","秋兴八首卷",[1055,1058,1059,1148,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace7cf998ea76b631e4be7d1ea62b0.jpg",[6],{"id":642,"slug":6773,"title":6774,"dynasty":1173,"author":1601,"museum":1287,"description":5826,"tags":6775,"thumbUrl":6776,"material":1064,"size":1064,"collection":6,"collections":6777,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qiu-xing-shi-juan-zhu-yun-ming-239799","秋兴诗卷",[1055,1056,1057,1058,1110,1059,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d73729556600172b0b9a6469a39c49.jpg",[6],{"id":643,"slug":6779,"title":5944,"dynasty":1300,"author":3135,"museum":1287,"description":6780,"tags":6781,"thumbUrl":6782,"material":1064,"size":1064,"collection":6,"collections":6783,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[1059,1580,1060,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[6],{"id":644,"slug":6785,"title":6786,"dynasty":1300,"author":4615,"museum":1075,"description":6787,"tags":6788,"thumbUrl":6789,"material":1098,"size":6790,"collection":6,"collections":6791,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"meng-hao-ran-shi-juan-fu-shan-239692","孟浩然诗卷","此卷书录唐代诗人孟浩然“与诸子登岘山”等诗十八首（草书孟浩然诗卷释文），全卷凡三接纸，共书114行，末识：“张山人钺持此纸要书，雪中惜研上余墨，孟诗十八首与之。”款署“山”，下钤“傅山私印”。本幅无藏印，具体书写时间不详。\n傅山在书法艺术上主张“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”。此卷书法纵逸奇宕，字与字间不相连属，结字欹正相间，古拙雄健，但笔意相连不断，充分体现了傅山书法艺术之特色，亦是对其书法美学思想作了最好的诠释。此卷向被视为傅山草书中的上乘佳作，代表了傅山中、晚期行草书的最高艺术水平。",[1055,1059,1110,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317ddef1e2911097b3d8d09721605f28.jpg","纵28.2厘米，横394.8厘米",[6],{"id":645,"slug":6793,"title":6794,"dynasty":1173,"author":1935,"museum":1075,"description":6795,"tags":6796,"thumbUrl":6797,"material":1098,"size":6798,"collection":6,"collections":6799,"showCount":1086,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"xi-yuan-shi-juan-wen-zheng-ming-239658","西苑诗卷","文征明晚年佳作行草书法欣赏《西苑诗十首》是文征明五十六岁在京任翰林院待诏时所作，均为七律，共十首。描述宫城西以太液池为中心的御苑（即今中南海、北海）景色。此卷书写于甲寅（公元一五五四年）六月十日——距成诗时隔三十年，是年已八十五岁。",[1055,1056,1057,1058,1110,1060,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8a85d233a102714d554cec20be51a8.jpg","纵28.4厘米 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洪武十五年，被明太祖挑选，以“臣奉白帽著王”结识燕王朱棣，主持庆寿寺，成为朱棣的主要谋士。朱棣靖难第三年，姚广孝留守北平，建议朱棣轻骑挺进，径取南京，使得朱棣顺利夺取南京，登基称帝。以区区燕地一方土地敌全国兵马，且最终获胜，历史上绝无仅有。\n成祖继位后，姚广孝担任僧录司左善世，又加太子少师，被称为“黑衣宰相”。负责迁都事宜，一手规划今日北京城布局。而后在解缙编书失败后又担任了《永乐大典》和《明太祖实录》的最高编撰官，尤其是《永乐大典》，这是他在中国文化历史上的最大贡献。少师晚年，在明初期佛教渐成颓势之际，又担起护教（佛教）之责，整理了反排佛的《道余录》，为佛教史上一件大事。\n永乐十六年（1418年），病逝庆寿寺，追赠荣国公，谥号恭靖。皇帝亲自撰写神道碑铭，并以文臣身份入明祖庙，是明代第一人，也是唯一一人。",[2173,1059,1060,4506,1080,1062,1058,6806,3115],"名帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed2e054e7405a08c614e84465cc31f3.jpg",[6],{"id":647,"slug":6810,"title":6811,"dynasty":1050,"author":1133,"museum":1075,"description":5157,"tags":6812,"thumbUrl":6813,"material":1278,"size":6814,"collection":6,"collections":6815,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-239571","新岁展庆、人来得书帖合卷",[1059,1060,1110,1062,1267,1248,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8873c37e80c5a497c09b89ea5c7aeb53.jpg","前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米",[6],{"id":648,"slug":6817,"title":6818,"dynasty":1300,"author":6375,"museum":1287,"description":6819,"tags":6820,"thumbUrl":6821,"material":1064,"size":1064,"collection":2093,"collections":6822,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jun-zi-ting-tu-zhou-wang-jiu-237563","君子亭图轴","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。",[1057,1058,1061,1080,1177,1178,1362,1425,1182,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f805e8367c8aed07d52484440dace8a.jpg",[2093,6],{"id":649,"slug":6824,"title":4334,"dynasty":1300,"author":6825,"museum":1287,"description":6826,"tags":6827,"thumbUrl":6828,"material":2669,"size":2815,"collection":2093,"collections":6829,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-shui-ce-chen-zi-237518","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[1160,1079,1060,1062,1178,1180,1451,1349,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08ca6de5976d2660e517dc6ace58ddd.jpg",[2093,6],{"id":650,"slug":6831,"title":6832,"dynasty":1173,"author":1601,"museum":1052,"description":5414,"tags":6833,"thumbUrl":6834,"material":1220,"size":6835,"collection":6,"collections":6836,"showCount":1086,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-tie-kong-hou-pian-zhu-yun-ming-222479","诗帖《箜篌篇》",[1055,1059,1148,1093,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebf9d1756ea1dc16ab54fdb95d54307.jpg","纵36.1厘米,横1147.5厘米",[6],{"id":651,"slug":6838,"title":6839,"dynasty":1173,"author":5369,"museum":1287,"description":6840,"tags":6841,"thumbUrl":6842,"material":1098,"size":1064,"collection":6,"collections":6843,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-ri-ren-zha-juan-wang-shou-ren-241005","致日仁札卷","王守仁（1472—1529），字伯安，别号阳明，浙江余姚人。弘治十二年（1499年）进士，官至南京兵部尚书、都察院左都御史。谥文成，后人称王文成公。明代著名的思想家、文学家、哲学家和军事家。",[1055,1058,1059,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe737e04e12f5c183b7f73e90c68a017c.jpg",[6],12,{"id":652,"slug":6846,"title":6847,"dynasty":1173,"author":4648,"museum":1075,"description":6848,"tags":6849,"thumbUrl":6850,"material":1278,"size":6851,"collection":6,"collections":6852,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[1057,1058,1061,1080,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[6],{"id":653,"slug":6854,"title":5944,"dynasty":1300,"author":6855,"museum":1287,"description":6856,"tags":6857,"thumbUrl":6858,"material":1098,"size":1064,"collection":6,"collections":6859,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lian-weng-tong-he-240281","翁同龢","翁同龢（1830-1904），字叔平，號松禪， 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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[1057,1058,1079,1080,1160,1177,1178,1450,2418,1906,5330,3954,3542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纸本设色","纵29cm，横42.3cm",[2093,1189,6],{"id":664,"slug":6941,"title":3041,"dynasty":1300,"author":2917,"museum":1287,"description":2918,"tags":6942,"thumbUrl":6943,"material":1098,"size":1064,"collection":6,"collections":6944,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shou-gao-hong-yi-fa-shi-223268",[1055,1059,1060,1062,1112,1534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe71d71913856437c4d9b594177f93f1.jpg",[6],{"id":665,"slug":6946,"title":6947,"dynasty":1173,"author":4344,"museum":1287,"description":4346,"tags":6948,"thumbUrl":6949,"material":3804,"size":6950,"collection":6,"collections":6951,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-gu-tie-juan-wang-duo-222537","临古帖卷",[1055,1056,1057,1058,1110,1291,1062,1060,1059,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[6],{"id":666,"slug":6953,"title":6954,"dynasty":1050,"author":6955,"museum":1564,"description":6956,"tags":6957,"thumbUrl":6958,"material":3329,"size":6959,"collection":6,"collections":6960,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[1055,1057,1058,1110,1161,1160,1180,1451,1060,1062,3924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[6],{"id":667,"slug":6962,"title":6963,"dynasty":1050,"author":5055,"museum":1052,"description":5056,"tags":6964,"thumbUrl":6965,"material":1098,"size":6966,"collection":6,"collections":6967,"showCount":6844,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍",[1055,1732,1059,1060,1080,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[6],{"id":668,"slug":6969,"title":6970,"dynasty":1300,"author":6971,"museum":1287,"description":6972,"tags":6973,"thumbUrl":6974,"material":1098,"size":1064,"collection":6,"collections":6975,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-er-shou-zhou-bao-gao-241393","七律二首轴","鲍皋","鲍皋（1708—1765） ，清朝江苏镇江丹徒人，字步江，号海门。是一个诗赋家。\n他自幼聪明，家贫，向人借书阅读，熟记胸中，13岁在\n清康熙年间，余京 康熙末年鲍皋与 鲍皋年轻时曾在扬州，得到盐运使尹会一之助。雍正 王豫评三诗人，认为 镇江\n鲍皋一生沉溺于诗，不事科举。其妻陈蕊珠(1714-1778)、子之钟(1740-1802)、三个女儿之兰(1751-1812)、之蕙(1757-1810)、之芬(1761-1808)都能诗，可称一门风雅。",[1579,1061,1060,1059,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c871edb19255706560ce3e465beafd.jpg",[6],{"id":669,"slug":6977,"title":6978,"dynasty":1300,"author":6855,"museum":1075,"description":6979,"tags":6980,"thumbUrl":6981,"material":2331,"size":6982,"collection":6,"collections":6983,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。体仁阁大学士翁心存第三子，咸丰六年（1856年）状元，历任户部、工部尚书、军机大臣兼总理各国事务衙门大臣。先后担任清同治、光绪两代帝师。卒后追谥文恭。\n翁同龢（hé）工诗 [16] ，间作画，尤以书法名世，幼学欧、褚，初学董其昌、米芾，中年后由钱沣上追颜真卿，又不受颜字束缚，结体宽博开张，笔画刚劲有力，风格苍浑遒劲，朴茂雍容，著有《翁文恭公日记》《瓶庐诗文稿》等。",[1059,1061,1060,1767,1825,5147,1826,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2d62f228dfd929b8f50b5867966123.jpg","137.7×68cm",[6],{"id":670,"slug":6985,"title":6986,"dynasty":1300,"author":1369,"museum":1052,"description":6987,"tags":6988,"thumbUrl":6992,"material":1098,"size":6993,"collection":6,"collections":6994,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-liu-yong-240710","诗卷","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[1055,1059,1060,1110,1062,1556,1178,1249,4186,6989,6990,6991,2935,1253,1251,1794],"菊花","星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[6],{"id":671,"slug":6996,"title":6997,"dynasty":1300,"author":2361,"museum":1075,"description":6998,"tags":6999,"thumbUrl":7000,"material":5917,"size":7001,"collection":6,"collections":7002,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yang-fa-zhuan-shu-qi-yan-shi-zhou-yi-ming-240704","杨法篆书七言诗轴","释文：\n落日微风倚石龛，人从江北望江南。连山不断翻波浪，夕鸟遥空飞二三。六代繁华消浊酒，一时士女擅清谈。长江天堑成虚语，千里楼船许猷探。呼吸真堪帝座通，名花迥出百花丛。繇来天上根株异，可许人间富贵同。色丽云霞共近远，既浮烟霭气冲融。临风更向瑶台立，似有霓裳奉碧空。乾隆壬午仲秋日。上元杨法。\n款署：“乾隆壬午仲秋日。上元杨法。”钤“杨法印信”朱文印、“杨已军印”白文印，鉴藏印钤“龙友审定”朱文印。\n款署“乾隆壬午”为乾隆二十七年（1762年）。作者时年66岁，为晚年作品。\n本幅书体为篆书的一种变体，用笔呈蜿蜒盘曲之状，并兼有隶书的笔画，富有装饰效果。",[1059,1513,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f405887ada08f1c10da69a61f6b38a.jpg","纵120.3厘米，横28.9厘米",[6],{"id":672,"slug":7004,"title":1575,"dynasty":1300,"author":7005,"museum":1075,"description":7006,"tags":7007,"thumbUrl":7008,"material":1098,"size":7009,"collection":6,"collections":7010,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-ba-yan-lian-sun-xing-yan-240597","孙星衍","孙星衍（1753年9月28日—1818年2月16日），是清代著名藏书家、目录学家、书法家、经学家。字渊如，号伯渊，别署芳茂山人、微隐。阳湖（今江苏武进）人，后迁居金陵。少年时与杨芳灿、洪亮吉、黄景仁以文学见长，袁枚称他为“天下奇才”。\n于经史、文字、音训、诸子百家，皆通其义。辑刊《平津馆丛书》《岱南阁丛书》堪称善本。著有《周易集解》《寰宇访碑录》《孙氏家藏书目录内外篇》《芳茂山人诗录》等多种文集",[1579,1513,1580,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4293b21962edbb2653d973bfc5ea631.jpg","172.3×27cm×2",[6],{"id":673,"slug":7012,"title":7013,"dynasty":1300,"author":4539,"museum":1075,"description":6206,"tags":7014,"thumbUrl":7015,"material":1064,"size":1064,"collection":6,"collections":7016,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-dui-xue-shi-ye-shi-tao-240038","原济对雪诗页",[1056,1057,1058,1059,1060,1062,1579,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb5b79f4c7f387675ed4c8066ff45ec.jpg",[6],{"id":674,"slug":7018,"title":7019,"dynasty":1300,"author":7020,"museum":7021,"description":7022,"tags":7023,"thumbUrl":7024,"material":1064,"size":7025,"collection":6,"collections":7026,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jie-lu-han-shu-zhou-cao-xiu-xian-239951","节录汉书轴","曹秀先","常州市博物馆","曹秀先（1708—1784），字恒听，又字芝田、冰持，号地山，江西南昌新建县人。清朝翰林，政治人物，文学家，书法家。为官清廉，人称“诚敬勤慎”。为《四库全书》馆总裁，乾隆帝曾特赐“紫禁城骑马”的特殊待遇。书法，取法钟、王，自成一家。",[1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb34ebebe7c2b12228392512fbb4aaa.jpg","97×46.1cm",[6],{"id":675,"slug":7028,"title":7029,"dynasty":1173,"author":7030,"museum":1287,"description":7031,"tags":7032,"thumbUrl":7033,"material":1064,"size":1064,"collection":6,"collections":7034,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-han-juan-fan-qin-239798","诗翰卷","范钦","范钦（1506年－1585年），字尧卿，号东明，浙江鄞县（今宁波市鄞州区）人。明代著名藏书家，中国现存最古老的藏书楼——天一阁的主人。\n嘉靖十一年（1532年）进士。历任随州知州、工部员外郎、袁州知府、广西参政、福建按察使、云南右布政使、陕西左布政使、副都御史等职。后晋兵部右侍郎，未赴任而去职还乡。\n一生喜爱藏书。归里后，于嘉靖四十年至四十五年（1561-1566年）间，在宁波月湖西岸的居宅东侧建造了藏书楼，取“天一生水、地六成之”之义，名“天一阁”。其藏书以明版地方志及登科录为世人所重，在明时已有“浙东藏书第一家”之誉。历经400余年后的今天，已成为中国国内最古老的藏书楼。著述有《四明范氏书目》《烟霞小说》《抚掌录》《奏议》《草朝遗忠录》《明文臣爵谥》《古今谚》。",[1055,1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7efa13184a215e5f9930f7d8baf070f.jpg",[6],{"id":676,"slug":7036,"title":2547,"dynasty":1073,"author":1074,"museum":1075,"description":7037,"tags":7038,"thumbUrl":7039,"material":1098,"size":7040,"collection":6,"collections":7041,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wan-shou-qu-juan-zhao-meng-fu-239667","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[1055,1056,1057,1058,1110,1060,1059,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[6],{"id":677,"slug":7043,"title":7044,"dynasty":1073,"author":1074,"museum":1075,"description":7045,"tags":7046,"thumbUrl":7047,"material":1278,"size":7048,"collection":6,"collections":7049,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jiu-de-song-juan-zhao-meng-fu-239666","酒德颂卷","释文：\n有大人先生以天地爲一朝，以萬期爲須臾，日月爲扃牖，八荒爲庭除。行無轍迹，居無室廬，幕天席地，縱意所如。止則摇卮執孤，動則挈榼提壺，唯酒是務，焉知其餘。有貴介公子，搢紳處士，聞吾風聲，議其所以，陳說禮法，是非蠭起，奮袂攘襟，怒目切齒。先生於是方捧甖承槽，銜杯嗽醪，奮髯箕踞，枕麹藉糟，無思無慮，其樂陶陶。兀然而醉，恍爾而醒。靜聽不聞雷霆之聲，熟視不見泰山之形。不覺寒暑之切肌，嗜欲之感情。俯觀萬物，擾擾焉如江海之載萍。二豪侍側，如螺蠃之與螟蛉。延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。\n本幅自识：“延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。”钤“赵子昂氏”印。帖后题跋有孙星衍（5段）、徐有贞、陈鉴、刘珏、杨循吉、文彭、王穉登、翁方纲（4段）、阮元等26家。鉴藏印有戴植、吴云、顾文彬等15方。\n明詹景凤《东图玄览编》、《真迹日录》，清顾文彬《过云楼书画记》、完颜景贤《三虞堂书画目》著录。\n延祐三年（1316年），赵孟頫时年63岁。\n此卷是赵孟頫为瞿泽民录写的西晋刘伶《酒德颂》全文，共19行。瞿泽民无考。刘伶为“竹林七贤”之一，其《酒德颂》充分反映了晋代文人的心态，由于社会动荡不安，统治者对一些文人的政治迫害，使有的文人或借酒浇愁，或以酒避祸，并借酒后狂言发泄对时政的不满。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[1055,1110,1059,1060,1078,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31512f695b6d65fe30c4b2db8aaaaa7f.jpg","纵28.5厘米，横65.2厘米，19行",[6],{"id":678,"slug":7051,"title":7052,"dynasty":1073,"author":7053,"museum":1287,"description":7054,"tags":7055,"thumbUrl":7056,"material":1064,"size":1064,"collection":6,"collections":7057,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"shi-tie-juan-zhang-shen-239647","诗帖卷","张绅","张绅，字士行，一字仲绅，元代末期胶州人（（宣统）《山东通志·艺文志》于其著《法书通释》下云绅为登州人）。元至正七年（1347年）与弟经、缉同领乡荐。张咏乖崖之孙。\n《四库全书总目》于其著《法书通释》下云：“《书史会要》但称为山东人，洪武中官浙江布政使，不详为山东何地之人(应为济南人，《孔子庙堂碑》古拓本中有记载)，亦不详其出身。考《明史·吴伯宗传》附载鲍恂事，称洪武十五年（1382年）吉安余诠、高邮张长年、登州绅并以明经老成为礼部主事所荐，召至京。恂、长年皆以老病辞归，惟绅授鄠县教谕，寻召为右佥都御史，终浙江布政使。则绅乃为登州人，以荐举起家也。”是以知（宣统）《山东通志》沿《明史》之误。今按（道光）《重修胶州志》于《人物志》中列张绅传，于《艺文志》中收入其《逸诗》一卷，且有“元至正七年与弟经、缉同领乡荐”之载，并加按语云：“《明史》绅登州人，《明山左诗抄》绅济南卫人，又称云门山樵，盖尝至益都，皆其生平流寓之地。” 《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[1055,1059,1110,1060,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[6],{"id":679,"slug":7059,"title":7060,"dynasty":1073,"author":7061,"museum":1075,"description":7062,"tags":7063,"thumbUrl":7066,"material":1098,"size":7067,"collection":6,"collections":7068,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[1055,1056,1057,1058,1110,1060,1059,1062,1093,1414,1248,1267,7064,7065],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[6],{"id":680,"slug":7070,"title":7071,"dynasty":1073,"author":7072,"museum":1075,"description":7073,"tags":7074,"thumbUrl":7075,"material":4373,"size":7076,"collection":6,"collections":7077,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","王蒙","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[1073,1060,1059,1058,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","纵33.3厘米，横58.7厘米",[6],{"id":681,"slug":7079,"title":7080,"dynasty":1173,"author":2655,"museum":1564,"description":7081,"tags":7082,"thumbUrl":7083,"material":1098,"size":7084,"collection":6,"collections":7085,"showCount":1282,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[1055,1056,1057,1058,1110,1059,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[6],{"id":682,"slug":7087,"title":7088,"dynasty":1050,"author":7089,"museum":1287,"description":7090,"tags":7091,"thumbUrl":7092,"material":1098,"size":1064,"collection":6,"collections":7093,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ming-qing-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241661","明清诸家跋赐詹骙诗拓卷","赵眘","宋孝宗趙昚（1127年11月27日－1194年6月28日），初名趙伯琮，後改名趙瑗，賜名趙瑋，字元永，籍貫秀州（今浙江嘉興），宋太祖趙匡胤七世孫、宋高宗趙構養子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n紹興二年（1132年），被高宗選中育於宮中。紹興三十年（1160年），被立為皇子，受封開府儀同三司、寧國軍節度使，封建王。紹興三十二年（1162年），被立為皇太子。同年高宗讓位於趙昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），趙昚禪位於三子趙惇，自稱壽皇聖帝。紹熙五年（1194年），趙昚崩逝，在位二十七年，年六十八。累諡號紹統同道冠德昭功哲文神武明聖成孝皇帝，廟號孝宗，葬於永阜陵。《全宋詞》錄有其詞一首。\n後世普遍認為趙昚是南宋最有作為的皇帝。他在位期間，平反岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[1055,1058,1110,1290,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[6],{"id":683,"slug":7095,"title":6722,"dynasty":1300,"author":7096,"museum":1287,"description":7097,"tags":7098,"thumbUrl":7099,"material":1098,"size":1064,"collection":6,"collections":7100,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-zhou-ren-zhong-zhou-241295","任仲周","落笔雄健苍劲，线条枯湿浓淡富于层次变化，行气连贯舒展。整幅纵势绵延，字间牵丝映带自然，将律诗意境与笔意相融。\n\n用笔重落轻提，浑厚中见灵动，狂放不失法度，收放自如尽显文人雅韵。诗中幽寂春思随笔墨铺陈开来，苔阶烟柳的清寂之境跃然纸上，笔墨节律呼应诗意跌宕，把候花期的怅惘藏在笔锋疾缓之中，是书与诗的绝佳合璧，笔墨间浸透着沉静雅致的文人意趣。",[1061,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d7d39aa99ead82fab341e2ed4e006f.jpg",[6],{"id":684,"slug":7102,"title":7103,"dynasty":1173,"author":7104,"museum":1287,"description":7105,"tags":7106,"thumbUrl":7107,"material":1098,"size":1064,"collection":6,"collections":7108,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shan-ju-wu-lv-shi-zhou-jiang-feng-yuan-241215","山居五律诗轴","姜逢元","浙江 万历四十一年癸丑进士，累迁国子司业，曾任太子保，充日讲官，官至礼部尚书。时魏忠贤擅政，纂三朝要典，假阉竖之权，役 崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[1057,1058,1059,1061,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[6],{"id":685,"slug":7110,"title":7111,"dynasty":1300,"author":2374,"museum":1287,"description":7112,"tags":7113,"thumbUrl":7114,"material":1098,"size":1064,"collection":6,"collections":7115,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-zi-ji-zha-heng-zhao-zhi-qian-241054","致子继札横","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》。",[1058,1059,1060,1110,6691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780d500e113fe99af594781fc50f9f4a.jpg",[6],{"id":686,"slug":7117,"title":7118,"dynasty":1173,"author":7119,"museum":1287,"description":7120,"tags":7121,"thumbUrl":7122,"material":1098,"size":1064,"collection":6,"collections":7123,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[1055,1078,1060,1956,1513,1148,1059,1112,1110,1093,1290,1062,2002,1291,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[6],{"id":687,"slug":7125,"title":7126,"dynasty":1300,"author":4324,"museum":1287,"description":7127,"tags":7128,"thumbUrl":7129,"material":1098,"size":1064,"collection":6,"collections":7130,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[1058,1059,1060,1098,2013,1062,1579,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[6],{"id":688,"slug":7132,"title":7133,"dynasty":1173,"author":7134,"museum":1287,"description":7135,"tags":7136,"thumbUrl":7138,"material":1098,"size":1064,"collection":6,"collections":7139,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[1055,1060,1059,1110,1080,1062,2569,7137,1825,2859,1792,1556,1794],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[6],{"id":689,"slug":7141,"title":5700,"dynasty":1300,"author":7142,"museum":1287,"description":7143,"tags":7144,"thumbUrl":7145,"material":1098,"size":1064,"collection":6,"collections":7146,"showCount":1140,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"shi-zhou-bi-yuan-240193","毕沅","毕沅（1730年—1797年），字纕蘅，亦字秋帆，因从沈德潜学于灵岩山，自号灵岩山人。江苏镇洋（今江苏太仓）人。清代著名学者。\n乾隆二十五年（1760）进士，廷试第一，状元及第，授翰林院编修。乾隆五十年（1785）累官至河南巡抚，第二年擢湖广总督。嘉庆元年（1796）赏轻车都尉世袭。病逝后，赠太子太保，赐祭葬。\n嘉來庆二冄年頭（17樤97）年病逝，获赠太子太保。",[1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0c7f5d59860c6fb46c27b0d3589d3.jpg",[6],{"id":690,"slug":7148,"title":7149,"dynasty":1173,"author":2361,"museum":1287,"description":7150,"tags":7151,"thumbUrl":7153,"material":1064,"size":1064,"collection":6,"collections":7154,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[1055,1058,1110,1160,1826,1062,1513,1060,1078,1059,7152,1414,1161,2002],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[6],{"id":691,"slug":7156,"title":7157,"dynasty":1300,"author":4539,"museum":1075,"description":6206,"tags":7158,"thumbUrl":7161,"material":1064,"size":1064,"collection":6,"collections":7162,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[1058,1059,1579,1060,1148,1080,1098,1062,5870,5227,3115,7159,7160],"毛笔","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[6],{"id":692,"slug":7164,"title":7165,"dynasty":1173,"author":7166,"museum":1287,"description":7167,"tags":7168,"thumbUrl":7169,"material":1064,"size":1064,"collection":6,"collections":7170,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） ；“眉公”（阴文印）、“麋公”（阴文、阳文印）、“晚香堂”（阴文印）",[1057,1058,1061,1060,1148,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[6],{"id":693,"slug":7172,"title":7173,"dynasty":1300,"author":7174,"museum":1287,"description":7175,"tags":7176,"thumbUrl":7177,"material":1064,"size":1064,"collection":6,"collections":7178,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-lian-shang-shi-ye-hong-wu-239918","致莲裳诗页","洪梧","生卒年不详，清代人，活动于乾隆年间。安徽歙县人，字桐生，洪榜弟，乾隆进士，由编修官沂州知府。其学博通古今，邃于《经》学。亦工词翰，擅书法。清·包世臣《艺舟双楫》评其小真书为佳品上。《中国书法大辞典》等收录。",[1300,1059,1078,1098,1733,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2d2e1e2efa236aaa405605d4f13151.jpg",[6],{"id":694,"slug":7180,"title":7181,"dynasty":1173,"author":7182,"museum":1075,"description":7183,"tags":7184,"thumbUrl":7185,"material":1098,"size":7186,"collection":6,"collections":7187,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"liu-yong-ci-zhou-sui-ming-yong-239907","柳永词轴","眭明永","释文：\n杨柳外，晓风残月。明永。\n本幅钤“眭明永印”、“嵩年”。收藏印钤“谭观成”、“宣君长印”。\n《柳永词》句为宋柳永《雨霖铃》词下半阕中的一句“杨柳岸，晓风残月”，眭明永写成“杨柳外，晓风残月”。\n此轴书法气势奔放豪爽，神完气足。结体欹斜，笔势开张，巨锋迅疾，线条顿挫转折，纵逸跌宕，书风狂纵而富奇趣。",[1059,1061,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd142a395bcfd4ebb2dccc5c72d75f478.jpg","纵113.5厘米，横28.3厘米",[6],{"id":695,"slug":7189,"title":5700,"dynasty":1300,"author":7190,"museum":1287,"description":7191,"tags":7192,"thumbUrl":7193,"material":1064,"size":1064,"collection":6,"collections":7194,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-yun-li-239797","允礼","果毅亲王爱新觉罗·允礼（1697年3月24日—1738年3月21日），原名爱新觉罗·胤礼，满洲正红旗人，清康熙帝第十七子，雍正帝异母弟，母为纯裕勤妃。生于康熙三十六年(1697年)，卒于乾隆三年(1738)。其初行次为第二十七，序齿为第十七。\n允礼九岁以后常随康熙帝出塞外，雍正元年被封为果郡王，管理藩院事。雍正帝认为他实心报国，操守清廉，于雍正六年进亲王，七年管工部事，八年总理户部三库，十一年管户部；十二年赴泰宁送达赖喇嘛回西藏，顺路问视各省驻防及绿营兵；十三年还京师，办理苗疆事务。雍正帝临终时，命允礼辅政。乾隆即位，允礼任总理事务，主刑部事务，由于身体较弱，乾隆帝命其在私邸中办事，隔几天进宫一次即可，这在当时是一种不同寻常的特殊照顾。他秉性忠直，深受乾隆帝赏识；乾隆元年因事罢双俸，三年二月薨。乾隆帝万分悲痛，亲临其丧。二月初九日，乾隆令给允礼加祭一次，谥曰“毅”。因允礼无子，故以雍正帝第六子弘曕为嗣子。因允礼彼时年幼未参与康熙晚期夺嫡之争，故在康熙帝诸多皇子中算是下场较好的一个。",[1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c8e1568ccebe81dafddeb0354faa.jpg",[6],{"id":696,"slug":7196,"title":7197,"dynasty":1050,"author":2361,"museum":1287,"description":7198,"tags":7199,"thumbUrl":7200,"material":1064,"size":1064,"collection":6,"collections":7201,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-kuan-xing-pan-gu-xu-juan-yi-ming-239679","无款行盘谷序卷","通篇以行草挥就，笔势欹正相生，牵丝映带灵动自然，尽显宋人尚意书风的疏放意趣。笔墨燥润相济，提转顿挫间将文辞意涵与书家性情相融，通篇气息浑融连贯，把《盘谷序》的文气挥洒得淋漓尽致。\n\n卷身遍钤朱红鉴藏印玺，与墨色书迹交相辉映，历代题跋环列其间，织就厚重递藏脉络。疏密排布得宜，既有肆意挥洒的疏朗，亦不失点画精到的谨严，尽显宋代行书抒情达意的文人风骨，是兼具书法艺术价值与流传考据价值的佳作。",[1055,1057,1058,1110,1060,1059,1080,1178,1177,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cef04be1b92ec6142891fe4070e31d1.jpg",[6],{"id":697,"slug":7203,"title":7204,"dynasty":1073,"author":6215,"museum":1075,"description":7205,"tags":7206,"thumbUrl":7207,"material":1098,"size":7208,"collection":6,"collections":7209,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ji-chen-tie-ye-yu-ji-239676","即辰帖页","释文（略）\n\n据《元史·虞集传》：“文宗崩，集在告，欲谋南还，弗果。幼君（宁宗）崩，大臣将立妥欢帖陆尔太子（惠宗），用至大故事，召诸老臣赴上都议政，集在召列。（马）祖常使人告之曰：‘御史有言，乃谢病归临川。’”此帖中提到姑苏、惠泉（惠泉在无锡），可知此时虞集已经谢病南归。帖中又说：“方今龙飞御天”，应指惠宗即位事，与文献所述时间亦合。由此推断，此帖当书于惠宗即位之后，是虞集的晚年作品。\n陶宗仪在《书史会要》中对虞集的书法有很高的评价，认为：“集真、行、草、篆皆有法度，古隶为当代第一。”《即辰帖》为楷体，兼有行书笔意。书法精道、淳古、苍劲，波澜老成，有碑版之状。\n《铁网珊瑚·卷五》、《平生壮观·卷四》等书著录。",[1055,1059,1058,1060,1093,1098,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[6],{"id":698,"slug":7211,"title":7212,"dynasty":1073,"author":1074,"museum":1287,"description":6524,"tags":7213,"thumbUrl":7214,"material":1064,"size":1064,"collection":6,"collections":7215,"showCount":1140,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷",[1055,1056,1057,1058,1110,1060,1080,1160,1178,2769,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[6],{"id":699,"slug":7217,"title":7218,"dynasty":1073,"author":7219,"museum":1075,"description":7220,"tags":7221,"thumbUrl":7225,"material":1098,"size":7226,"collection":6,"collections":7227,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[1060,1059,1093,1062,1080,4506,3115,1767,7222,4244,3495,3070,4247,2932,1351,3258,7223,1772,1251,7224,1250,1362],"田","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[6],{"id":700,"slug":7229,"title":7230,"dynasty":1073,"author":7231,"museum":1075,"description":7232,"tags":7233,"thumbUrl":7234,"material":3163,"size":7235,"collection":6,"collections":7236,"showCount":1140,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shen-you-zhong-jiu-za-shi-bing-jian-tie-shen-you-239615","沈右中酒杂诗并简帖","沈右","此帖是沈右写给陈植的书信并诗5首。帖中提到了敬初（陈基）、明德（郑元佑）、伯行（钱逵）3人，他们都是擅名当时的文人和书法家。有元一代，吴越地区是文人荟萃之地，这些文人在政治倾向、个人经历、艺术创作等方面往往有相同或相似之处，因此彼此诗酒唱和，往来十分密切。这种现象在元代后期尤为明显。沈右此帖便涉及了当时文人日常生活和彼此交往的某些方面。 沈右小楷以精致、遒媚、古澹见称，自成一家面目。此帖体势端紧，笔笔妥贴，通篇自然协调，极具艺术品味。 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文震孟出身书香门第，吴门画派创始人、“明四家”之一文徵明，是其曾祖父。震孟幼承家学，读书认真，21岁即获乡荐，但会试屡屡下第。后得“醉颖堂”废址，缮修加筑，更名“药圃”。园建成后约二年，他第十一次赴京赶考，得一甲一元，状元及第，也是苏州史称的四大“状元宰相”之一。授翰林院修撰。因疏陈勤政讲学，忤魏忠贤，被廷杖八十，贬职调外，愤而告归故里。崇祯元年（1628）以侍读召，改左中允，充日讲官。三年（1630）进左谕德，掌司经局，直讲如故。又因连劾魏党王永光，被斥为“任情牵诋”，乘机避归五年。五年（1632），在家被擢为右庶子，重新赴任，未久进少詹事。崇祯八年（1635）正月，闯王李自成占安徽凤阳，捣毁皇陵。借此历陈致乱之源，七月擢为礼部左侍郎兼东阁大学士，入阁预政。因与权奸温体仁不洽，被劾落职。九年（1636）卒，十二年（1639）诏复原职，十五年（1643）赠礼部尚书衔，赐祭葬。南明福王追谥“文肃”。\n崇祯初拜礼部左侍郎，兼东阁大学士。书画有家风，“书迹遍天下，一时碑牒署额，与待诏（文徵明）埒”。《明史》有其传。著述丰，主要有《念阳徐公定蜀记》、《剃茶说》、《策书圆记》、《姑苏名贤小记》、《文肃公日记》、《文文起诗》等。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c2e0c4d7a08d98f5eb8c27acd128f0.jpg","196.3×66.8cm",[6],{"id":709,"slug":7303,"title":7304,"dynasty":1173,"author":7305,"museum":1287,"description":7306,"tags":7307,"thumbUrl":7308,"material":1098,"size":1064,"collection":6,"collections":7309,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-jue-zhou-zhong-xing-241025","五绝轴","钟惺","钟惺(1574—1625)，明代文学家。字伯敬，号退谷，湖广竟陵（今湖北天门市）人。万历三十八年（1610）进士。曾任工部主事，万历四十四年（1616）与林古度登泰山。后官至福建提学佥事。不久辞官归乡，闭户读书，晚年入寺院。其为人严冷，不喜接俗客，由此得谢人事，研读史书。他与同里谭元春婡共选冄《頭條唐诗归》和《古诗归》(见《诗归》)，名扬一时，形成“竟陵派”，世称“钟谭”。钟惺通过撰著《楞严经如说》参与佛学论争,表达了他复兴义学、重整戒律、推尊净土、宣扬华严的四大佛学主张。钟惺凭借文官身份和文坛巨擘的影响力兴办佛教事业,助力晚明佛教复兴运动。\n其一：反对拟古文风。他对明中叶以后盛行文坛的拟古主张加以批驳，指出“作诗者之意兴，虑无不代求其高。高者，取异于途径耳。夫途径者，不能不异者也”（钟惺《诗归序》）。他认为“七子”模拟古人词句，只不过是“取古人之极肤、极狭、极熟便于口手者，以为古人在是”(同前)。因而力求改变这种文风，提出“势有穷而必变”的变革主张（《问山亭诗序》）。\n婡冄頭其條二：主张诗人应抒写“性灵”(或“灵心”)。这种“性灵”或“灵心”是“引古人之精神，以接后人之心目，使其心目有所止焉”，是“求古人真诗所在。真诗者，精神所为也”（《诗归序》）。即要在古人诗词的精神中去寻求性灵。但是，他认为这种古人的真诗精神是“察其幽情单绪，孤行静寄于喧杂之中”，于是他自己的作品极力追求孤僻情怀“别趣理奇”即所谓孤怀、孤诣，且夸耀说：“我辈文字到极无烟火处。”（《答同年尹孔昭书》）\n其三：倡导幽深孤峭的风格。《明史·文苑传》载：“自宏道矫王、李诗之弊，倡以清真，惺复矫其弊，变而为幽深孤峭。”钟惺认为公安派末端文风俚俗、浅率，企图以幽深孤峭的风格加以匡救。但他却走入了另一形式主义极端，往往只顾及字句，忘却篇章，追求奇字险韵，造成一种艰涩隐晦的风格，以致有些诗句语意不畅，令人费解，如“树无黄一叶，云有白孤村”（《昼泊》）等。钟、谭以这种主张为标准评选《诗归》。他们所选唐诗，专取清瘦淡远一格，众所推重的李白《古风》、杜甫《秋兴》等名篇都不选入，试图以幽冷来洗“七子”的绚烂，足可见其主张的长、短，利、弊。钟惺的诗，由于追求幽情孤行，所以大多情思狭窄，题材局促，缺乏深厚广阔的社会内容。不过他苦心吟事，雕字酌句，不遗余力，有些五古游览诗作写得还相当好。如《经观音岩》、《舟晚》等，虽有雕镂之嫌，然寄情绘景，时有名理。其《上巳雨中登雨花台》、《巴东道中示弟栓》，手眼别出，可见清思。另外，有些诗作对社会现实也有所反映，如《江行俳体》12首，写及了“官钱曾未漏渔蛮”的赋税严重情况。\n钟惺记叙、议论、散文亦有一些新奇隽永之作。写景寄情小品《浣花溪记》，以生动细腻笔触描绘了唐代大诗人杜甫成都寓地浣花溪一带逶迤、清幽的景色，抒写对杜甫的敬仰之情，并寄寓自己的情怀。清溪碧潭，移步换景，体现了竟陵派“孤行静寄”的情怀和个性，以及求新求奇的幽深孤峭的风格。此外《游五夷山记》也是此类作品。他的叙议小品《夏梅说》，巧妙地从时令变化，引出赏梅、咏梅人的冷热，进而揭示人情世态的寒暖；对“趋梅于冬春冰雪者”的趋炎附势风气给予嘲讽和批判，构思立意较为新奇。文艺短论《题鲁文恪诗选后》（之二）主张诗文创作宜少而精，提出“不能尽善，而止存一篇数篇、一句数句之长，此外皆能勿作”，反对“多多益善”粗制滥造。并将文章分为三等：“选而作者，上也；作而自选者，次也；作而待人选者，又次也。”\n总之，钟惺诗文主张反拟古，主性灵，有积极一面，他的求新求奇文风，对传统散文有所突破，与公安派一样，对晚明小品文的大量产生有一定的促进作用。而其狭窄的题材及情怀，艰涩幽冷的语言及文风，无疑也束缚了他在创作上取得更大的成就。清代曾将“公安”、“竟陵”之作列为禁书，诋毁排击甚烈。",[1057,1058,1061,1148,1080,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[6],{"id":710,"slug":7311,"title":7312,"dynasty":1300,"author":7313,"museum":1287,"description":7314,"tags":7315,"thumbUrl":7316,"material":1098,"size":1064,"collection":6,"collections":7317,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-xian-zun-ming-zhou-zhang-shi-bao-240607","临贤尊铭轴","张士保","张士保 (1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。\n张士保是清末著名的书画家，嗜好金石文字，其行、楷、篆、隶，无所不精，尤以钟鼎文见长，他创作的诗文别有一种趣味，而最负盛名的则是画。山水、花鸟，不落恒蹊，尤工人物，悉宗古法。他画的山水花鸟，匠心独具；人物画笔意古雅，形态静穆，深得陈洪绶、崔子忠一派承宗古法的真传，笔法结构纯从汉造像得来。1860年(咸丰十年)，客居京都，与秦谊亭（秦炳文）、汪叔明（王叔明)等在松筠庵结画社，闻名京都，成为当时全国最著名的画家之一。",[1513,1291,1061,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08471c9e2ebbf0c7e75b3138a6e6d572.jpg",[6],{"id":711,"slug":7319,"title":5700,"dynasty":1300,"author":7320,"museum":4917,"description":7321,"tags":7322,"thumbUrl":7323,"material":1098,"size":7324,"collection":6,"collections":7325,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-wang-xian-zuo-240605","王显祚","崇祯举人。顺治三年（1646年），由山东运使擢为山西布政使司参政、分守河东道。五年，任陕西按察使、管右布政使事。又转福建按察使。十年六月，擢为山西右布政使，一直到顺治十一年十一月改任。傅山十年秋才由汾州移居土堂。次年春，宋谦被捕，供词连及傅山。六月，傅山入狱。王显祚在此期间是否参与开脱傅山，史无记载。不过，王显祚任此职时间应并不长，作用有限。傅山与王显祚之交往，应是顺治十七年后的事。《清实录》载，顺治十七年（1660年），王显祚由福建左布政使转为山西左布政使。又《新编傅青主年谱》康熙二年条：“六月，申涵光游太原，访青主。访中表、山西布政使王显祚，请其为青主买宅。”是王显祚与傅山结识由申涵光所介绍。王显祚在山西做了八年布政使，时间可谓不短，与傅山交往应会不少。康熙六年（1667年），王显祚因福建道御史 而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[1059,1061,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[6],{"id":712,"slug":7327,"title":7328,"dynasty":1300,"author":2361,"museum":1052,"description":7329,"tags":7330,"thumbUrl":7331,"material":1098,"size":5452,"collection":6,"collections":7332,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[1059,1057,1058,1061,1060,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[6],{"id":713,"slug":7334,"title":7335,"dynasty":1173,"author":6010,"museum":1075,"description":7336,"tags":7337,"thumbUrl":7338,"material":1098,"size":7339,"collection":6,"collections":7340,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[1057,1058,1061,1080,1291,1062,1148,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[6],{"id":714,"slug":7342,"title":7343,"dynasty":1300,"author":7344,"museum":1287,"description":7345,"tags":7346,"thumbUrl":7347,"material":1064,"size":1064,"collection":6,"collections":7348,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[1059,1060,1291,1062,1767,3499,1362,1825,1772,1425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[6],{"id":715,"slug":7350,"title":7351,"dynasty":1300,"author":4567,"museum":1287,"description":7352,"tags":7353,"thumbUrl":7354,"material":1098,"size":1064,"collection":6,"collections":7355,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-gao-feng-han-240116","诗页","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》\n高凤翰的右手书法严谨流畅，左手书法上溯魏晋风格，继承元明笔法，气韵流动，古趣横生，被人誉为明清两朝数百年间以左手擅长书法的，尚无人与之媲美并列。当时能得到其只字片幅不是易事。\n“不抱云山骨，哪成金石心。自然奇节士，落墨见高襟。”是不是很熟悉？对，这就是高凤翰的书法作品《章草书》全诗，寓意书法作品的功底，要亲近云和山那样的风骨，才能求得金石之心。何谓云山风骨，就是像云一样潇洒飘逸变化无穷，圆转自如，像山一样坚毅挺峻，拥抱云和山的精髓，才能够体味到金石之心的真谛。后寓意为励志，意指不经历风雨，怎么见彩虹。\n高凤翰主工花卉山水，宋人雄浑之神和元人静逸之气在其作品中同时流露，艺术造诣十分精湛。高凤翰的画不拘成法，因而被人归于“扬州八怪”，也有将他列为“画中十哲”的。高凤翰的传世作品有《牡丹竹石图》轴等，并著有《南阜山人诗集》、《砚史》等书。\n高凤翰在一黑陶罐上的诗刻和画有三足陶器的《博古图》花轴引起山东大学考古工作者的注意，后人们按图上提供的信息往胶州三里河求索，终于发掘出一处重要的古文化遗址。 青岛百花苑置有他的雕像。",[1058,1059,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa57422b9cc1367b164e0f1c594bb8f.jpg",[6],{"id":716,"slug":7357,"title":7358,"dynasty":1173,"author":7359,"museum":1075,"description":7360,"tags":7361,"thumbUrl":7362,"material":1278,"size":7363,"collection":6,"collections":7364,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dong-zhuang-za-yong-shi-juan-shao-bao-240030","东庄杂咏诗卷","邵宝","《东庄杂咏诗》卷释文\n署款：“友生邵宝顿首稿上复斋先生吟伯请教。三月廿八日。”\n款下钤“国贤”、“常郡锡邑世家”印。引首印“二泉”。\n无题跋及鉴藏印。\n此为邵宝为赞美吴宽的“东庄别墅”之景色所作的20首五言绝句。\n此书用笔稳健，顿挫有致，笔墨浓郁温厚，气势沉实宽博。其笔画钩如屈铁，点如坠石，巧拙互用，时出怪异之笔，有李东阳之韵意，且自家风格极突出。",[1055,1056,1057,1058,1110,1060,1059,2861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe826e86530cece2a1585e86a8e64466d.jpg","纵25.8厘米，横231.5厘米",[6],{"id":717,"slug":7366,"title":7367,"dynasty":1300,"author":7368,"museum":1287,"description":7369,"tags":7370,"thumbUrl":7371,"material":1064,"size":1064,"collection":6,"collections":7372,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[1059,1060,1291,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[6],{"id":718,"slug":7374,"title":7375,"dynasty":1300,"author":7376,"museum":1287,"description":7377,"tags":7378,"thumbUrl":7379,"material":1064,"size":1064,"collection":6,"collections":7380,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[1058,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35312559c36214acbff3ca430912430d.jpg",[6],{"id":719,"slug":7382,"title":7383,"dynasty":1300,"author":7384,"museum":1287,"description":7385,"tags":7386,"thumbUrl":7387,"material":1064,"size":1064,"collection":6,"collections":7388,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhuan-shu-mo-zhou-zi-zhong-zhou-wu-ting-kang-239978","篆书摹周子钟轴","吴廷康","此作用笔沉实厚重，顿挫之间筋骨尽显，结体方正宽博，将汉隶的舒展开张与北碑的雄健浑融一体，尽显古拙朴茂的金石意趣。红格界栏使得行列齐整肃穆，左侧题款灵动跳脱，与正文形成虚实相映的视觉层次。墨色匀净饱满，气息沉静醇雅，既恪守原碑的法度神韵，又融入自身笔底意趣，尽显对汉代金石气象的追慕与再创造，整体浑穆静雅，兼具庙堂端方与文人意韵。",[1513,1291,1061,1059,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ab9c912e706c8feb729839d9431403.jpg",[6],{"id":720,"slug":7390,"title":5944,"dynasty":1300,"author":3379,"museum":1287,"description":7391,"tags":7392,"thumbUrl":7393,"material":1064,"size":1064,"collection":6,"collections":7394,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-lian-lu-hui-239947","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加太平军工作，功名之路永绝。从刘德六游，习花果、翎毛，有出兰之誉。尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤吴大瀓，相与谈艺，大悦，纵观吴之所藏，上窥唐、宋，下樵元、明，艺事大进。旋客吴幕，得游三湘，辽东名胜。所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工汉隶，旁参魏晋六朝，遒劲而具有金石气。尝作衡山记游图八幅，认为生平杰作，谓可媲美黄易《访碑图》。\n光绪二十二年（1896）张之洞任江督，集海内名画家补绘元王恽所进《承华事略》，以总其事。图中衣冠、彝器悉准历代制度。中年归苏州，潜心绘事，考订金石文字，垂三十年。为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹评画中九友“以吴江陆廉夫得名最早，山水学四王，渲染尤能逼真。”",[1059,1580,1060,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4306a6678d4afb150d8aef509e5d84.jpg",[6],{"id":721,"slug":7396,"title":7397,"dynasty":1300,"author":6641,"museum":1287,"description":6642,"tags":7398,"thumbUrl":7399,"material":1064,"size":1064,"collection":6,"collections":7400,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-song-lian-shang-ye-wan-cheng-ji-239921","诗送莲裳页",[1579,1058,1059,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac2a5bd587d4df7383b138741ceda5.jpg",[6],{"id":722,"slug":7402,"title":7403,"dynasty":1173,"author":7404,"museum":1287,"description":7405,"tags":7406,"thumbUrl":7407,"material":1064,"size":1064,"collection":6,"collections":7408,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[2173,1059,1058,1060,1291,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[6],{"id":723,"slug":7410,"title":7411,"dynasty":1300,"author":4324,"museum":1287,"description":6451,"tags":7412,"thumbUrl":7413,"material":1064,"size":1064,"collection":6,"collections":7414,"showCount":1213,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-hong-li-hua-min-cheng-su-lun-zhou-ai-xin-jue-luo-yong-xing-239701","书弘历化民成俗论轴",[1061,1078,1059,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184a29e80a92638317b154ebe7358697.jpg",[6],{"id":724,"slug":7416,"title":7417,"dynasty":1156,"author":2361,"museum":1287,"description":7418,"tags":7419,"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以康熙间无耗羡，非无耗羡也，特无耗羡之名耳。世宗出自独断，通计外吏大小员数，酌定养廉，而以所入耗羡按季支领。吏治肃清，民亦安业。特以有徵报支收之令，不知者或以为加赋。皇上询及盈廷，臣请稍为变通，凡耗羡所入，仍归藩库，各官养廉及各州县公项，如旧支给。其续增公用，名色不能画一，多寡亦有不同，应令直省督抚明察，某件应动正项，某件应入公用，分别报销。各省州县自酌定养廉，荣悴不一，其有支绌者，应令督抚确察量增，俾稍宽裕。仍饬勿得耗外加耗，以致累民。则既无加赋之名，并无全用耗羡办公之事，州县各有赢馀，益知鼓励。至於施从其厚，敛从其薄，古之制也。及此仓庾充裕、民安物阜之时，大臣悉心调剂，使养廉之入，不为素餐，元气培扶，帑藏盈溢，然后以三十年之通制国用。宋太祖能罢羡馀，臣固知皇上之圣，不必廷臣建白如张全操其人者，而德音自下也。”",[1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8ebe17cc2b112ad229229750b4a15c.jpg",[6],8,{"id":731,"slug":7471,"title":7472,"dynasty":1300,"author":7473,"museum":1287,"description":7474,"tags":7475,"thumbUrl":7476,"material":1098,"size":1064,"collection":6,"collections":7477,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shan-gu-shi-zhou-dong-ne-241317","山谷诗轴","董讷","董訥（1639—1701）字茲重，號默庵，山東平原人，清朝官吏。\n康熙六年一甲三名進士，授編修。累擢至江南總督。為政持大體，有惠於民。左遷去，江南民為立生祠。二十八年，上南巡，民執香跪訥生祠前，求復官訥江南。上還蹕，笑謂訥曰：“汝官江南惠及民，民為汝建小廟。”旋以侍讀學士復出為漕運總督。累擢至兩江總督。為政持大體，有惠於民。因故降官。後以侍讀學士再出位漕運總督。死後賜祭葬，追加為正一品。康熙御賜“眷念舊勞”四字。",[1058,1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099fdb19f5434ce77bec77585f310570.jpg",[6],{"id":732,"slug":7479,"title":5547,"dynasty":1173,"author":7480,"museum":1287,"description":7481,"tags":7482,"thumbUrl":7483,"material":1098,"size":1064,"collection":6,"collections":7484,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-yan-shi-zhou-yang-ke-241226","杨珂","杨珂（？－？），字士佩，福建泉州府晋江县人，民籍，明朝政治人物。\n福建乡试第八名举人。嘉靖四十四年（1565年）中式乙丑科二甲第五十三名进士",[1059,1061,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae98d327c042b6301f8d7819abc15ae.jpg",[6],{"id":733,"slug":7486,"title":5891,"dynasty":1173,"author":7487,"museum":1287,"description":7488,"tags":7489,"thumbUrl":7490,"material":1098,"size":1064,"collection":6,"collections":7491,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-jue-zhou-chen-lie-241224","陈烈","陈烈，字季慈，号季甫，侯官（今闽侯县南通镇陈厝村）人，宋朝官员。\n陈烈讲究道德修养，亦重视读书静养工夫，朱熹很赞赏他的做法，《朱子语类》卷十一记载：“昔陈烈先生苦无记性，一日读《孟子》‘学问之道无他，求其放心而已’，忽悟曰：‘我心不曾收，如何记得书？’遂闭门静坐百余日，以收放心，却去读书，遂览无遗。”",[2173,1059,1061,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81119615b7f2121a5edafd8a8c595e6d.jpg",[6],{"id":734,"slug":7493,"title":7494,"dynasty":1173,"author":7495,"museum":1287,"description":7496,"tags":7497,"thumbUrl":7498,"material":1098,"size":1064,"collection":6,"collections":7499,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[1057,1058,1061,1148,1059,1062,1173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[6],{"id":735,"slug":7501,"title":7502,"dynasty":1173,"author":2125,"museum":1052,"description":7503,"tags":7504,"thumbUrl":7505,"material":7506,"size":7507,"collection":6,"collections":7508,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-he-juan-wang-feng-yuan-241053","诗合卷","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[1055,1058,1059,1060,1110,1062,1080,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[6],{"id":736,"slug":7510,"title":7511,"dynasty":1173,"author":7512,"museum":1287,"description":7513,"tags":7514,"thumbUrl":7515,"material":1098,"size":1064,"collection":6,"collections":7516,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"du-huang-he-wu-lv-zhou-wu-xing-zuo-240881","渡黄河五律轴","吴兴祚","吳興祚（1632年—1697年），字伯成，號留邨，紹興府山陰（今浙江紹興）州山人，後入漢軍正紅旗。清初名臣。\n其父為吳執忠，早年作為禮親王代善的幕僚，被授為頭等護衞。 [1] 吳興祚自幼聰穎，奮攻科藝，順治七年（1650年）以貢生的身份授為江西萍鄉知縣。當時金聲桓叛變，江西的郡縣多被佔領，唯有萍鄉沒有被佔領。很快他被授為山西大寧知縣。順治十八年（1661年），遷移為山東沂州知州 [2] 。不久以驛務遲誤、對白蓮教起義鎮壓不力之罪被罷，康熙帝二年（1663）降補無錫知縣。在任內，清丈全縣田畝，編號繪圖，因田徵賦，切行“攤丁入畝”。康熙十四年（1675年）四月，進為福建按察使。招撫耿精忠部將陳龍等人，生擒朱統錩。康熙十七年（1678年），被提升為福建巡撫，率部屢敗鄭經的軍隊。因功進秩正一品，後又進為兩廣總督，他上任後上疏言前督尚之信在廣東橫徵苛斂，奏請罷除鹽埠、渡税、漁科等苛捐雜税，又奏請允開海禁。\n康熙三十五年（1696年），康熙帝親征噶爾丹，吳興祚隨康熙帝效力，康熙三十六年（1697年）逝世。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ba2a34285731bb57f0b5a85bc0ccf4.jpg",[6],{"id":737,"slug":7518,"title":6986,"dynasty":1173,"author":7519,"museum":1075,"description":7520,"tags":7521,"thumbUrl":7522,"material":1493,"size":7523,"collection":6,"collections":7524,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[1055,1058,1059,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[6],{"id":738,"slug":7526,"title":7527,"dynasty":1300,"author":7528,"museum":1287,"description":7529,"tags":7530,"thumbUrl":7531,"material":1098,"size":1064,"collection":6,"collections":7532,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[1057,1058,1061,1060,1059,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[6],{"id":739,"slug":7534,"title":7535,"dynasty":1300,"author":4145,"museum":1287,"description":7536,"tags":7537,"thumbUrl":7538,"material":1098,"size":1064,"collection":6,"collections":7539,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zha-ce-lin-ze-xu-240712","诗札册","林则徐（1785年8月30日 －1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等 ，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[1058,1059,1060,1079,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[6],{"id":740,"slug":7541,"title":7165,"dynasty":1300,"author":7542,"museum":1287,"description":7543,"tags":7544,"thumbUrl":7545,"material":1098,"size":1064,"collection":6,"collections":7546,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-shi-zhou-wang-xu-ling-240641","王顼龄","王頊齡（1642-1725）：字顓士，一字容士，號瑁湖，晚號松喬老人，清·江南華亭縣（今上海市金山區）張堰鎮人，御史王廣心長子。",[1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70788b27dea80da7b227e3446aab3249.jpg",[6],{"id":741,"slug":7548,"title":7549,"dynasty":1173,"author":7550,"museum":1287,"description":7551,"tags":7552,"thumbUrl":7553,"material":1098,"size":1064,"collection":6,"collections":7554,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[1055,2173,1060,1110,1059,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[6],{"id":742,"slug":7556,"title":7557,"dynasty":1300,"author":1510,"museum":1287,"description":7558,"tags":7559,"thumbUrl":7560,"material":1098,"size":1064,"collection":6,"collections":7561,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[1059,1061,1060,1513,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[6],{"id":743,"slug":7563,"title":5299,"dynasty":1300,"author":7564,"museum":1287,"description":7565,"tags":7566,"thumbUrl":7567,"material":7568,"size":1064,"collection":6,"collections":7569,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-lian-chen-peng-nian-240177","陈鹏年","陈鹏年（1663年～1723年）字北溟，又字沧州，康熙二十三年（1684）举人，三十年进士。历官浙江西安知县、江南山阳知县、江宁知府、苏州知府、有《道荣堂文集》、《喝月词》、《历仕政略》、《河工条约》等。\n陈鹏年死后，清廷下诏厚葬。其墓气势肃穆，规模宏大，东西长50米，南北宽15米，自东向西，成对排列着 立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 据传，东雾山西麓所建东岑禅院及山顶的石泉精舍，都是陈鹏年少时读书的地方。墓之东西有石龙山、彭何观等景观。石龙山系宋末文人李半村隐居之地。过去有石龙寺，后改名慈航庵。西有洞口水库等景观。南有青翠峰、清总兵陈必友故居位于此处。",[1059,1580,1061,1060,1062,1267,7152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79145631ef2fecdb874957b66efd5f.jpg","立轴纸本",[6],{"id":744,"slug":7571,"title":7572,"dynasty":1173,"author":2361,"museum":1287,"description":7573,"tags":7574,"thumbUrl":7576,"material":1064,"size":1064,"collection":6,"collections":7577,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-li-yu-mu-dong-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240174","无款李愈母董氏嘉靖十五年诰命卷","此作为典型明代御制诰命，以标准馆阁体书就，笔致匀整方正，端秀雅正，尽显皇家文书的庄重威仪。文辞典丽雍容，叙写朝廷覃恩褒奖臣工母氏的荣宠，尽显封建恩荣规制。两侧钤盖的朱印浑朴方正，朱泥历久鲜亮，与墨色书法、古雅绢底相互映衬，整体气息肃穆端严，既为明代官方书法的范本，亦是探究彼时诰命制度、士林恩荣的珍贵实物遗存。",[2173,1078,1062,1058,1110,1059,7575,1733],"诰命","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94da1059059a572addd614a7a9ea1a05.jpg",[6],{"id":745,"slug":7579,"title":7580,"dynasty":1300,"author":7581,"museum":1075,"description":7582,"tags":7583,"thumbUrl":7584,"material":1098,"size":1064,"collection":6,"collections":7585,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-ge-jia-shu-juan-wu-xi-zai-240064","临各家书卷","吴熙载","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”\n吴煕载，原名廷飏，字煕载，后因避穆宗载淳讳更字让之，号晚学居士，江苏仪征人。他长期寓居扬州，以卖书画刻印为生，晚年落魄穷困，栖身寺庙借僧房鬻书，潦倒而终。吴煕载是包世臣的入室弟子。其行草学包世臣，篆隶及篆刻则师法邓石如。尤其是篆刻，不仅自成面目，而且进一步完善了邓派印风，后来学邓派印者，多从吴让之入手。吴煕载以篆书和隶书最为知名。其篆书点画舒展飘逸，结体瘦长疏朗，行笔稳健流畅。古朴虽不及邓石如，而灵动典雅似则过之，颇具妩媚优雅之趣，在晚清书坛享有很高的声誉。对后来的赵之谦、吴昌硕均有影响。",[1055,1059,1060,1291,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7bf85b89a41fe36bf57b554a9fa39.jpg",[6],{"id":746,"slug":7587,"title":7588,"dynasty":1300,"author":3536,"museum":1075,"description":3537,"tags":7589,"thumbUrl":7590,"material":1064,"size":1064,"collection":6,"collections":7591,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-can-ye-kun-can-240040","诗残页",[1058,1059,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e39f5ac315cea2303be48a247bf23f.jpg",[6],{"id":747,"slug":7593,"title":7594,"dynasty":1173,"author":2593,"museum":1075,"description":7595,"tags":7596,"thumbUrl":7597,"material":1064,"size":1064,"collection":6,"collections":7598,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-shi-juan-mo-shi-long-240031","书诗卷","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[1055,1059,1060,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[6],{"id":748,"slug":7600,"title":7601,"dynasty":1300,"author":7602,"museum":1075,"description":7603,"tags":7604,"thumbUrl":7605,"material":1064,"size":1064,"collection":6,"collections":7606,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[1055,1059,1291,1060,1110,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[6],{"id":749,"slug":7608,"title":7609,"dynasty":1300,"author":7610,"museum":1287,"description":7611,"tags":7612,"thumbUrl":7613,"material":1064,"size":1064,"collection":6,"collections":7614,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-ye-shi-zhou-zhang-wen-tao-239953","暑夜诗轴","张问陶","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人 。清代诗人、诗论家、书画家。\n张问陶于乾隆五十五年（1790年）进士及第，曾任翰林院检讨、江南道监察御史、吏部郎中。后出任山东莱州知府，后辞官寓居苏州虎邱山塘。晚年遨游大江南北，嘉庆十九年（1814）三月初四日，病卒于苏州寓所，享年五十一岁。\n张问陶撰有《船山诗草》，存诗3500余首。其诗天才横溢，与袁枚、赵翼合称清代“性灵派三大家”，与彭端淑、李调元合称“清代蜀中三才子”， 被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[1058,1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[6],{"id":750,"slug":7616,"title":5700,"dynasty":1173,"author":7617,"museum":1287,"description":7618,"tags":7619,"thumbUrl":7620,"material":1064,"size":1064,"collection":6,"collections":7621,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[1058,1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[6],{"id":751,"slug":7623,"title":7624,"dynasty":1173,"author":1601,"museum":1287,"description":5826,"tags":7625,"thumbUrl":7626,"material":1064,"size":1064,"collection":6,"collections":7627,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"mu-dan-fu-juan-zhu-yun-ming-239906","牡丹赋卷",[1055,1058,1059,1110,1148,1700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[6],{"id":752,"slug":7629,"title":5700,"dynasty":1173,"author":7630,"museum":1287,"description":7631,"tags":7632,"thumbUrl":7633,"material":1064,"size":1064,"collection":6,"collections":7634,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[1057,1058,1061,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[6],{"id":753,"slug":7636,"title":7637,"dynasty":1173,"author":7638,"museum":1075,"description":7639,"tags":7640,"thumbUrl":7641,"material":1098,"size":7642,"collection":6,"collections":7643,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[1055,1056,1057,1058,1110,1059,1060,1148,1098,1267,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[6],{"id":754,"slug":7645,"title":7646,"dynasty":1156,"author":2361,"museum":1287,"description":7647,"tags":7648,"thumbUrl":7650,"material":1064,"size":1064,"collection":6,"collections":7651,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-huang-chao-qi-yi-ji-can-ye-yi-ming-239682","无款黄巢起义记残页","黄巢起义，指的是乾符五年（878年）至中和四年（884年）由黄巢领导的民变，是王仙芝起义的后续。也是唐末民变中，历时最久，遍及最大，影响最深远的一场农民起义。黄巢之乱转战近半唐朝江山，导致唐末国力大衰。\n黄巢起义，采用流动作战的方式，避实攻虚，走遍今天山东、河南、安徽、浙江、江西、福建、广东、广西、湖南、湖北、陕西等省广大地区，动摇了唐朝的统治。但由于长期流动作战，没有稳定的后方，缺乏经济上的保障和群众基础，故而很难持久下去，使起义军最后失败。",[1292,1059,1060,1111,7649,1414,3117,5818,2365,1733],"残页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[6],{"id":755,"slug":7653,"title":7654,"dynasty":1073,"author":1074,"museum":1052,"description":7655,"tags":7656,"thumbUrl":7658,"material":1098,"size":7659,"collection":6,"collections":7660,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[1055,1059,1060,1110,1098,1111,7657,1062,3115],"书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[6],{"id":756,"slug":7662,"title":7663,"dynasty":1073,"author":7664,"museum":1075,"description":7665,"tags":7666,"thumbUrl":7670,"material":1098,"size":7671,"collection":6,"collections":7672,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[1059,1060,1080,1062,1098,7667,7668,1733,7669],"元代书法","毛笔书写","行书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[6],{"id":757,"slug":7674,"title":7675,"dynasty":1073,"author":7676,"museum":1075,"description":7677,"tags":7678,"thumbUrl":7679,"material":1278,"size":7680,"collection":6,"collections":7681,"showCount":7469,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[1059,1060,1093,1062,1058,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 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苏州府长洲（今江苏省苏州市）人。明末清初诗人、戏曲家，曾被顺治誉为“真才子”，康熙誉为“老名士”。\n尤侗为顺治三年（1646年）副榜贡生，之后参加会试屡试不第。顺治九年授永平（今河北卢龙）推官。顺治十三年（1656年）春，杖责骄横旗丁后，反遭弹劾，被降二级调用。因此愤然辞官，返回故里。此后，居家先后创作《读离骚》《钧天乐》《吊琵琶》《桃花源》《黑白卫》《清平调》。康熙十八年（1679年），举博学鸿儒，授翰林院检讨，参与修《明史》。康熙二十二年（1683年），告老归家。康熙四十二年（1703年），康熙帝南巡，晋官号为侍讲。次年逝世，享年八十七岁\n尤侗在诗、文、词、曲等多个领域均有建树。他论诗、论文尚性情、尚真。 尤侗影响最大的是曲。主张能为曲者方能为诗词，见解独到。他的戏曲创作融史识、议论、曲唱于一炉，为顺治帝所赏识。 尤侗著作浩繁，大都收入《西堂全集》61卷和《余集》共135卷中。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2426ddc1ba01972399dc433b6dff91.jpg",[6],{"id":780,"slug":7866,"title":6338,"dynasty":1173,"author":7867,"museum":4957,"description":7868,"tags":7869,"thumbUrl":7870,"material":1165,"size":1064,"collection":6,"collections":7871,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zi-shu-shi-juan-li-dong-yang-240028","李东阳","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[1055,1059,1060,1110,1733,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[6],{"id":781,"slug":7873,"title":7874,"dynasty":1300,"author":7875,"museum":1287,"description":7876,"tags":7877,"thumbUrl":7878,"material":1098,"size":1064,"collection":6,"collections":7879,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-lv-shi-zhou-pan-tang-240026","五律诗轴","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[1056,1057,1058,1061,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[6],{"id":782,"slug":7881,"title":7882,"dynasty":1173,"author":7883,"museum":1287,"description":7884,"tags":7885,"thumbUrl":7886,"material":1064,"size":1064,"collection":6,"collections":7887,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-tie-zhou-zhang-ruo-qi-239994","临帖轴","张若琪","此作用笔雄健纵逸，尽显明代狂草风貌。线条枯润互见，粗笔重墨浑朴沉厚，细笔牵丝灵动飘逸，章法大开大合，字势欹侧错落，气脉连贯悠长。\n\n字间映带自然，将诗文意趣随笔墨铺陈，萧散豪迈的意气藏于点画之间，以迅疾行笔抒发疏放不羁的文人襟怀，尽显草书抒情写意的风神，带着晚明浪漫书风的典型特质，笔墨老辣凝练，尽显狂草肆意烂漫的艺术感染力。",[2173,1059,1291,1148,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4aff4fa1a1b7ef92d6d784c84d322.jpg",[6],{"id":783,"slug":7889,"title":7890,"dynasty":1300,"author":4547,"museum":1287,"description":7891,"tags":7892,"thumbUrl":7893,"material":1064,"size":1064,"collection":6,"collections":7894,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zi-shu-shi-zhou-hua-yan-239992","自书诗轴","华喦（1682—1756年），字秋岳，号新罗山人、东园生、布衣生等，福建上杭人，清代画家。擅画人物、山水，尤精花鸟、草虫走兽，重视写生，构图新颖，所绘的形象生动多姿。时用枯笔干墨淡彩，敷色鲜嫩不腻，别树一帜，对清中叶以后的花鸟画影响甚大。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee985cfca50f9f69b8d1c6af755e6a.jpg",[6],{"id":784,"slug":7896,"title":7890,"dynasty":1300,"author":7897,"museum":1287,"description":7898,"tags":7899,"thumbUrl":7900,"material":1064,"size":1064,"collection":6,"collections":7901,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zi-shu-shi-zhou-fang-da-you-239991","方大猷","[清]（一五九七―？）字欧余，号允升，浙江乌程（今湖州）人，贰臣。明崇祯十年（一六三七）进士。降清，官山东巡抚。山水学董，间为倪、黄，多溼笔，善书、工诗。卒年八十余。",[1059,1060,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf4c98e63a4e6d692b9a27eccba83f.jpg",[6],{"id":785,"slug":7903,"title":7904,"dynasty":1300,"author":7905,"museum":1287,"description":7906,"tags":7907,"thumbUrl":7908,"material":1064,"size":1064,"collection":6,"collections":7909,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"de-lin-lin-yin-miao-bei-zhou-de-lin-239952","德林临尹庙碑轴","德林","此作用笔苍劲朴拙，线条厚重凝练，将周金铭文的浑穆古雅演绎得淋漓尽致。结体奇崛错落，随字赋形，既有古籀的高古浑朴，又融入书写意趣，字形开合大小富于变化，章法疏朗空灵，行气贯通流畅。左侧小字落款与主体大篆形成疏密对比，层次分明。\n整体气息高古雄浑，兼具金石苍茫质感与笔墨抒情性，尽显临摹者对先秦金文神髓的精准把握，将古文字的厚重意蕴与清代重金石考据的风尚相融，是一件颇具功力的临古佳制。",[1059,1513,1291,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a294fe872d68a45b2df6c9e0f6aed9.jpg",[6],{"id":786,"slug":7911,"title":7912,"dynasty":1300,"author":7913,"museum":1287,"description":7914,"tags":7915,"thumbUrl":7916,"material":1064,"size":1064,"collection":6,"collections":7917,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[1058,1059,1580,1061,1060,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[6],{"id":787,"slug":7919,"title":7920,"dynasty":1300,"author":7921,"museum":1287,"description":7922,"tags":7923,"thumbUrl":7924,"material":1064,"size":1064,"collection":6,"collections":7925,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fei-lu-pan-gu-qi-quan-ge-feng-chun-quan-ye-xu-xiong-239813","飞录盘古七泉歌奉春泉页","徐熊","此作为行书尺牍，行笔灵动婉转，牵丝映带间尽显随性舒展之态。章法纵有列而横无矩，行气贯通悠然，墨色枯湿浓淡富于层次，晕染出朴拙古雅的质感。笔墨随着诗文韵律跌宕起伏，将酬赠的温厚情谊藏于线条流转之中，既有文人书卷的清雅风神，又暗含沉静内敛的笔墨张力。整作简淡疏朗，尽显旧时文士日常尺牍的随性雅致，文与墨相融相合，在方寸间晕开从容温雅的文人意趣。",[1058,1060,1062,1059,1300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fcb557ca0771c25effbf9e506520d.jpg",[6],{"id":788,"slug":7927,"title":7928,"dynasty":1073,"author":1074,"museum":1075,"description":7929,"tags":7930,"thumbUrl":7931,"material":1278,"size":7932,"collection":6,"collections":7933,"sho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琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[1055,1056,1057,1058,1110,1059,1060,1080,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[6],{"id":789,"slug":7935,"title":7936,"dynasty":1073,"author":7937,"museum":1075,"description":7938,"tags":7939,"thumbUrl":7940,"material":1098,"size":7941,"collection":6,"collections":7942,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"an-he-tie-duan-tian-you-239626","安和帖","段天祐","释文：\n天佑顿首书奉起善贤契友执事：小林回，领书，承近候安和为喜。贱疾回杭又两发矣。二月上旬后又苦痎疟，寒暑交战，狼狈不可言。此岂俗谚所谓横赛者耶。书籍许以宽限，甚感。张子昭近来杭，解后陈思复书铺内所假书，亦曾亲与之言，明当并起善者同纳矣。师夔画帧不敢有忘，已嘱其人平昔厚善者，俟其至，即从求之。臈糟谨奉一坛，泥头上有题识。香楠木欲作少器皿，截开作正白色者不可用，烦更为物色。如沉香颜色者，价钱比前买者加贵无伤。因官窑季子良有行，灯下草草奉此。春寒祈善爱。不具。天佑顿首再拜。\n此帖钤有项元汴、安岐、何子彰、谭敬、完颜景贤、赵叔彦等人鉴藏印记。《墨缘汇观》、《三虞堂书画目》著录。\n这是段天祐写给好友起善的书信，内容谈及自己的诸多病况、归还起善等人书籍、为起善向师夔求画、请起善为自己物色木料等等。信里涉及起善、张子昭、师夔等人。\n此帖从米芾书风中取法，又具有元人特有的精致与平和。",[1059,1060,1110,1111,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd0117ba7b423af562fc88c8d4a99c.jpg","纵27.3厘米，横54.5厘米",[6],{"id":790,"slug":7944,"title":7945,"dynasty":1073,"author":7946,"museum":1075,"description":7947,"tags":7948,"thumbUrl":7949,"material":1098,"size":7950,"collection":6,"collections":7951,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","赵麟","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[1055,1058,1059,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[6],{"id":791,"slug":7953,"title":7954,"dynasty":1073,"author":7955,"museum":1075,"description":7956,"tags":7957,"thumbUrl":7958,"material":3163,"size":7959,"collection":6,"collections":7960,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-jian-tie-lu-guang-239616","诗简帖","陆广","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[1055,1059,1060,1062,1093,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[6],{"id":792,"slug":7962,"title":7963,"dynasty":1173,"author":7964,"museum":1075,"description":7965,"tags":7966,"thumbUrl":7967,"material":5609,"size":7968,"collection":6,"collections":7969,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[1055,1058,1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[6],{"id":793,"slug":7971,"title":7972,"dynasty":1073,"author":1074,"museum":1075,"description":7973,"tags":7974,"thumbUrl":7975,"material":1098,"size":1064,"collection":6,"collections":7976,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[1055,1059,1058,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[6],{"id":794,"slug":7978,"title":7979,"dynasty":1073,"author":5353,"museum":1075,"description":7980,"tags":7981,"thumbUrl":7982,"material":7983,"size":7984,"collection":6,"collections":7985,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-feng-ji-tie-ye-kang-li-nao-nao-239566","书奉记帖页","释文：\n巎再拜奉记\n彦中州判贤友执事者，范涣卿所寄来绒大二帖，已领。前所托者望付便人来，甚幸。更望二香卓，其一小者（旁注“高尺余”3小字），欲几榻间放；其一大者，高博尺四尺可也。得坚实素木为之，妙！复望惠及诸样海味，有便寄下。辄恃知爱，故尔叨喋，仍恕干烦也。巎再拜。\n鉴藏印钤明项元汴“墨林祕玩”、李肇亨“槜李李氏鹤梦轩珍藏记”等。\n《奉记帖》是康里巎巎写给朋友叶彦中的一封信札，内容为托寄香桌、海味等物件之事。\n帖左下角有朱笔楷书小字3行，记录的是康里巎传略：“子山，康里氏，父不忽木，祖燕贞，世有功业。巎亦学士承旨。卒谥曰文忠。”\n此帖笔法颇类怀素，运笔疾速飞动，结体圆转婉畅，笔画清劲妍丽，字字自相牵绕而又不相互连带，展示出书家自己的个性和风格。",[1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59fe5c3ad7ecbb4d90a1b06f8943fa3.jpg","行草书，纸本","纵29.8厘米，横55.7厘米",[6],{"id":795,"slug":7987,"title":7988,"dynasty":1300,"author":7989,"museum":1287,"description":7990,"tags":7991,"thumbUrl":7992,"material":1064,"size":1064,"collection":2093,"collections":7993,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"bian-gong-guai-shi-tu-zhou-fang-heng-xian-237562","汴宫怪石图轴","方亨咸","[清]小字姐哥，字吉偶，号邵村，号龙瞑、心童道士，安徽桐城人。拱乾子。顺治四年（一六四七）进士，官御史。能文，善书，精于小楷。山水仿黄公望，博大沈雄，力追古雅，与程正揆、顾大申时称鼎足。花鸟意态如生，曾绘百尺梧桐卷，雀雏入神品。\n平生足迹几遍天下，故其所见无非粉本，不规规于古人，所以更胜于古人。顺治十五年（一六五八）为刘年伯作山水轴。其康熙十七年（一六七八）作深林垂绘图，现在日本。《国[清]朝画识、图绘宝鉴续纂、古夫于亭录、百尺梧桐阁集、昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考、古代书画过目汇考附目》。传世作品有顺治十五年(1658)为刘年伯作山水轴。康熙十七年(1678)作《深林垂纶图》，现收藏于日本；康熙五年(1666)作《山水花鸟》册页、《江右纪游图册》共10帧，现藏故宫博物院；八年作《梅花双雀图》轴图录于《神州大观》；十三年作《松石图》图录于《中国名画集》；康熙十五年(1676)作《五苗图》轴藏上海博物馆。著有《邵村诗集》《塞外乐府》《楚粤使稿》等。方亨咸《似兰斯馨，如松之盛》书画象牙牌子现藏于西河自然博物馆。",[1056,1057,1058,1061,1080,1448,1305,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001a2d9beefdd270ce2fe8ca67ac2ad.jpg",[2093,6],{"id":796,"slug":7995,"title":7996,"dynasty":1173,"author":7997,"museum":1075,"description":7998,"tags":7999,"thumbUrl":8001,"material":1064,"size":1064,"collection":6,"collections":8002,"showCount":1431,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-han-lin-ting-zi-tu-hong-li-shu-fu-cheng-shan-li-liu-fang-236188","画寒林亭子图弘历书赋成扇","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[1057,1058,4148,1178,1425,8000,5146,2442,1059,1062,1080,1160],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde03b093be30492eba6c6608605c275b.jpg",[6],{"id":797,"slug":8004,"title":8005,"dynasty":1300,"author":2361,"museum":1287,"description":8006,"tags":8007,"thumbUrl":8008,"material":1064,"size":1064,"collection":6,"collections":8009,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"tai-yuan-duan-tie-yi-ming-242420","太原段帖","此作为行草刻帖，行气纵逸跌宕，字势欹正相生。刀石摹刻间精妙留存下提按顿挫的笔情墨韵，牵丝萦带暗合章法脉络，字字错落却通篇气脉贯通。斑驳泐痕是岁月留痕，更添沉郁古拙的金石质感。笔墨使转映带间，既有草书流宕不羁的意态，亦不失行书的端稳之姿，暗合晋唐尺牍的简札意趣。虽经摹刻，仍能窥见原作放旷随性的笔致，将日常尺牍的闲散意趣与书法艺术的法度相融，古意盎然，尽显帖学书法的风神雅致。",[1059,1290,1093,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd94bfbd4f1c15d4751cc3609746022.jpg",[6],{"id":798,"slug":8011,"title":8012,"dynasty":1300,"author":4988,"museum":1075,"description":8013,"tags":8014,"thumbUrl":8015,"material":1098,"size":1064,"collection":6,"collections":8016,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tao-yuan-xing-ju-zhou-qian-feng-241408","桃源行句轴","钱沣（1740—1795），字东注，一字约甫，号南园，云南昆明人，清代大臣、书画家。\n钱沣所处时代，是满朝上下皆学董其昌书法的时代，而惟有他对鲁公情有独钟。平生仰慕颜真卿为人，书亦法之，得其神而不袭其貌，堪称学颜第一人。大楷临摹《颜氏家庙碑》、《告身墨》、《中兴颂》、《麻姑仙坛记》、《东方画像赞》；行草从颜真卿《争座位稿》、《祭侄文》、《十二意》入手,晚年以颜为本，参以欧、褚笔法，行笔颇为沉着痛快，亦有八面出锋之势，苍劲雄健，耐人寻味；小楷则博采众家之长，习过王羲之、王献之、钟绍京等历代书家的精品。晚年还得益于褚遂良、米芾书法的精髓。钱书小楷刚健婀娜；大楷笔力遒劲，力透纸背；行书、草书风神独绝。他学习古人而迈出古人的法度，自成一家。",[1058,10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[1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[1057,1058,1059,1061,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[6],{"id":809,"slug":8100,"title":8101,"dynasty":1173,"author":1601,"museum":1075,"description":8102,"tags":8103,"thumbUrl":8104,"material":3502,"size":1064,"collection":6,"collections":8105,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[1055,1056,1057,1058,1110,1059,1060,1148,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[6],{"id":810,"slug":8107,"title":8108,"dynasty":1300,"author":8109,"museum":1075,"description":8110,"tags":8111,"thumbUrl":8112,"material":1278,"size":8113,"collection":6,"collections":8114,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-zhao-qi-lv-shi-zhou-zhang-zhao-240611","张照七律诗轴","张照","释文：\n安石榴花开最迟，绛裘深树出幽菲。吾庐想见无限好，客子倦游何不归。坐上一尊虽得满，古来四事巧相违。今人却忆湖边寺，垂柳阴阴昼揜扉。张照。\n下钤“张照之印”、“瀛海仙琴”印2方。引首钤“既醉轩”印。无鉴藏印。\n此书行笔圆转流畅，墨色浓润，偶出枯笔于牵丝回绕处，愈觉神采飞扬。张照的书法融董其昌疏朗闲逸的布白和颜真卿淳厚敦朴的笔致于一体，从而呈现出别具特色的自家风貌。",[1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a4c692de130a0182986bfaed5d19fc.jpg","纵143.7厘米，横54.8厘米",[6],{"id":811,"slug":8116,"title":8117,"dynasty":1300,"author":8118,"museum":1287,"description":8119,"tags":8120,"thumbUrl":8121,"material":1098,"size":1064,"collection":6,"collections":8122,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"han-tan-shu-shi-zhou-han-tan-240604","韩菼书诗轴","韩菼","韩菼tǎn（1637年-1704年），字元少，别号慕庐，长洲（今苏州）人。性嗜酒。顺天乡试时，尚书徐乾学取之遗卷中。康熙十一年（1672年）入国子监做监生。康熙十二年（1673年）中状元，授翰林院修撰，修《孝经衍义》百卷。历官日讲起居注官、右赞善、侍讲、侍读，礼部侍郎、吏部右侍郎，官至礼部尚书兼翰林院掌院学士。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7744e0306dd5e4103e6d78594d88f.jpg",[6],{"id":812,"slug":8124,"title":8125,"dynasty":1300,"author":8126,"museum":1287,"description":8127,"tags":8128,"thumbUrl":8129,"material":2669,"size":2815,"collection":6,"collections":8130,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ti-huang-shan-tu-ce-yao-wen-yan-240519","诗题黄山图册","姚文焱","清代，字彦昭，江南桐城人。著有《楚游诗》。",[1058,1079,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ea1a82afbcb77c5872149522945e8.jpg",[6],{"id":813,"slug":8132,"title":8133,"dynasty":1300,"author":8134,"museum":1075,"description":8135,"tags":8136,"thumbUrl":8137,"material":1098,"size":1064,"collection":6,"collections":8138,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zheng-yi-zi-li-wen-zhou-liu-bing-tian-240486","正诣自励文轴","刘秉恬","邱正诣，字三进，号南漪散人，苏州府昆山县人，一代诗僧。明朝儒生，入清后，出家长洲保圣寺，学问淹博，工书法，何义门先生总角时业师。",[1059,1078,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb509441967bc87ff67b153261d6dfb.jpg",[6],{"id":814,"slug":8140,"title":8141,"dynasty":1173,"author":8142,"museum":1287,"description":8143,"tags":8144,"thumbUrl":8145,"material":1098,"size":1064,"collection":6,"collections":8146,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-liu-jia-ge-ti-shu-he-zuo-song-xing-shi-zhou-liu-han-ke-240440","十六家各体书合作送行诗轴","刘汉客","此作集十六家笔墨，诸体纷呈却气脉相融。或楷法端凝，筋骨沉厚，似将临歧珍重尽藏于方整笔意；或行草疏朗，墨色枯润相衔，笔锋起落间尽是赠别缱绻。\n\n通篇排布错落和谐，各家书风自具面目，却共寄送行深意。晚明文人酬唱的风雅尽显绢素之上，笔墨间既有对远行知己的殷殷期许，亦展露诸家浸淫翰墨的深厚功底，把惜别心绪落于笔底，让酬赠之谊凝为纸上风华，是一众文人翰墨交心、情志相投的绝佳见证。",[1059,1061,1060,1148,1078,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e78b38cee032c3940cdd54e40d21fa2.jpg",[6],{"id":815,"slug":8148,"title":8149,"dynasty":1300,"author":2361,"museum":1287,"description":8150,"tags":8151,"thumbUrl":8152,"material":1098,"size":1064,"collection":6,"collections":8153,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zeng-sun-lie-shi-zhou-yi-ming-240439","曾孙烈诗轴","此作以草书挥就，用笔纵逸恣肆，提按顿挫间力道尽显。线条枯湿浓淡相生，时而厚重沉凝，时而飘逸灵动，节奏感十足。字势欹正相生、上下映带，行气贯通无滞，章法疏朗开阔，将诗作寄情林泉、物我两忘的隐逸意韵藏于笔墨间。以笔墨延伸诗意，把山园幽居的闲适情志化作笔底波澜，尽显抒情写意的文人风骨。",[1579,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0955d5944b6fa983de68e79892ac1f8.jpg",[6],{"id":816,"slug":8155,"title":5700,"dynasty":1173,"author":8156,"museum":1287,"description":8157,"tags":8158,"thumbUrl":8159,"material":1098,"size":1064,"collection":6,"collections":8160,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-zhu-rong-zhong-240377","朱容重","字子庄，明宗室。好古能文，尤精八法，作各体书，国中凡赠送庆诵以文章介兕觥勒金石者，靡不以其书为重。匪第以其书，盖重其人也。",[1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43147f145a6745751cb8fad4ac66ee6.jpg",[6],{"id":817,"slug":8162,"title":5700,"dynasty":1300,"author":2889,"museum":1287,"description":8163,"tags":8164,"thumbUrl":8167,"material":4328,"size":8168,"collection":6,"collections":8169,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-wang-you-dun-240325","释文：\n霭霭龙旂色，琅琅木铎音。数行宽大诏，四海发生心。晹谷宾初日，清台告协风。愿如风有信，长与日俱中。草木渐知春，萌芽处处新。从今八千岁，合抱是灵椿。瑞日明天仗，仙云拥寿山。猗兰春昼永，金母在人间。苏轼春帖子词。臣汪由敦敬临。",[1300,1059,1060,1061,1062,1792,8165,2027,1249,1555,6081,8166],"晚云","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c4eb178bc28afd071cefe6aed3481.jpg","纵115.5cm，横59.7cm",[6],{"id":818,"slug":8171,"title":6722,"dynasty":1173,"author":8172,"museum":1287,"description":8173,"tags":8174,"thumbUrl":8175,"material":1098,"size":1064,"collection":6,"collections":8176,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-zhou-liu-yi-ming-240260","刘翼明","刘翼明（1607-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[1173,1057,1058,1061,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[6],{"id":819,"slug":8178,"title":5700,"dynasty":1300,"author":8179,"museum":1287,"description":8180,"tags":8181,"thumbUrl":8182,"material":1098,"size":1064,"collection":6,"collections":8183,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-xiang-lin-240199","项琳","项琳（1619年－1670年），字人玉，号太璞，又号完庵，歙人。\n出生于明末丧乱，无意于仕途，游走湖山。受到吴梅村、王士禛赏识。同屠乔孙从《晋书》、《北史》、《魏书》、《册府元龟》、《艺文类聚》、《太平御览》等书中重辑《十六国春秋》百卷，仍托名崔鸿。康熙九年（1670年），殁于江都。另著有《太璞山人集》三卷。",[1057,1058,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193d42cfe1ddc97319d3a1a744f16a87.jpg",[6],{"id":820,"slug":8185,"title":6847,"dynasty":1300,"author":8186,"museum":1287,"description":8187,"tags":8188,"thumbUrl":8190,"material":1098,"size":1064,"collection":6,"collections":8191,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-lv-shi-zhou-yan-hang-240196","严沆","严澂(1547—1625),字道彻,号天池,常熟人,著名古琴家。据史料记载,严澂工书法,精百家言,深得老庄精髓;以父荫补中书舍人、工部郎,明万历三十二年(1604)出任邵武(今属福建省)知府,有政绩,甚得民心。严澂晚年辞官归里,徜徉于山水间,以琴、书自娱,于骑射、击剑、投壶、蹴鞠亦无不精。可见,他不仅是一个善于雅玩、才气纵横的贵族公子哥,而且也是一个品性高洁、治学有道的专家。",[1061,1060,1059,1062,1556,8189,1794,6990,1703,1348],"灯火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150d532a5ecbfffa19ab0ad250de67b7.jpg",[6],{"id":821,"slug":8193,"title":5700,"dynasty":1300,"author":8194,"museum":1287,"description":8195,"tags":8196,"thumbUrl":8197,"material":1098,"size":1064,"collection":6,"collections":8198,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-cao-he-240195","曹禾","曹禾（1637—1699）字頌嘉，號未庵，又號峨嵋，江蘇江陰人。\n康熙三年（1664）中癸巳科三甲進士，官內閣中書。康熙十八年（1679）應試博學宏詞，獲二等，授翰林院編修，官至國子祭酒，以事罷歸。曹禾喜縱酒，酷愛圍棋，工詩文，與顏光敏、田雯、宋犖等稱“詩中十子”，著有《未庵初集》、《峨嵋集》等。\n曹颂嘉（禾）祭酒常语余曰：“杜、李、韩、苏四家歌行，千古绝调，然语句时有利钝。先生长句，乃句句用意，无瑕可攻，拟之前人，殆无不及。”余曰：惟句句作意，此其所以不及前人也。四公之诗，如万斛泉源，不择地而出，行乎其所不得不行，止乎其所不得不止。余诗如鉴湖一曲，若放翁、遗山已下，或庶几耳。",[1057,1058,1061,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb389d145c5e0e8ef0a7fb83c08934329.jpg",[6],{"id":822,"slug":8200,"title":8201,"dynasty":1173,"author":8202,"museum":1287,"description":8203,"tags":8204,"thumbUrl":8205,"material":1098,"size":1064,"collection":6,"collections":8206,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[1057,1058,1059,1060,1079,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[6],{"id":823,"slug":8208,"title":8209,"dynasty":1173,"author":2361,"museum":1287,"description":8210,"tags":8211,"thumbUrl":8212,"material":1098,"size":1064,"collection":6,"collections":8213,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[2173,1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唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[1057,1058,1060,1080,1305,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[6],{"id":825,"slug":8223,"title":8224,"dynasty":1300,"author":4615,"museum":1075,"description":8225,"tags":8226,"thumbUrl":8227,"material":8228,"size":8229,"collection":6,"collections":8230,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-da-ling-tie-juan-fu-shan-240063","临大令帖卷","释文：\n献之白。奉别告。承安和，庆慰。极冷。不审尊体复何如。献之比日如复小胜，因夜行忽复下。如欲作廗。今服药，尽温燥理。冀当可耳。然异极都不得，复小失和。卿恶亦不复得妄近生冷。体气顿至此，令人绝叹。行有佳酒便服。\n献之。承姑比日复小进退，其尔不得一极和，忧悚犹深。不审以服散，未必得力耳。比驎相闻。故云恶。悬怀。使君数得书也。\n愿余上下安和。知婢日夕疏慰意。育故羸。悬心。倪比健也。\n适奉永嘉去月十一日动静。故常患不宁。诸女无复消息。献之。\n八月十九日具疏。操之献之再拜。昨日诸愿悉达。奉奉告慰驰心。极冷。不审尊体复何如。操之创故不差。常恶。公故尔怏怏。献之昨来复下，如欲作廗。殊乏极。服石的丸，冀得力。谨白。不具。操之等再拜。\n嫂等承更恶，不审顷痊复不。必须散时。终得力耶。此药甚佳。想姊举体不能行履。服遂差。安西且无恙。府君属有和稀。久滞。行路同人，绝得此心。故当携其长幼诣。汝上下知彼骆驿。有书示。不足以慰吾意耶。冬间必欲至足下所居。承使君明练。不谓渐有胜也。君数集聚。然其大都可耳。吾止于月半间耶。\n献之等再拜。不审海盐诸舍，上下动静。比复常忧之。姊告无他事。崇虚刘道士鹅群并复归也。献之等当须向彼谢之。献之等再拜。\n甲辰初寒临为存翁词宗。真山。\n款署：“甲辰初寒临为存翁词宗。真山。”钤“傅山之印”白文印。\n此卷临王献之《安和帖》、《姑比日帖》、《愿余帖》、《适奉帖》、《昨日诸愿帖》、《嫂等帖》、《鹅群帖》诸帖，均见于《淳化阁帖》。卷后有邵松年跋，称此帖“随意挥洒，纯任自然，的是大令笔法”。书于康熙三年甲辰（1664年），傅山时年58岁。",[1055,1110,1059,1291,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 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人物、鸟兽能传父艺。真草书法晋人。诗词隽永超妙。有说学斋集。卒年七十一。清代画史误作翁凤毛。",[1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a972b433f5dfd6d213e9ab9c6ecff76.jpg",[6],{"id":827,"slug":8239,"title":8240,"dynasty":1300,"author":8241,"museum":1287,"description":8242,"tags":8243,"thumbUrl":8244,"material":1064,"size":1064,"collection":6,"collections":8245,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ce-zhou-yong-nian-240053","诗册","周永年","周永年（1730年－1791年），字書昌，山東歷城（今屬濟南市）人，祖籍浙江餘姚。\n生而好學，“竭數十年博採旁搜之力，棄產營書”，築貸書園，積書十萬卷，供人閲讀抄寫，並倡“儒藏説”，成立“儒藏”，“俾古人著述之可傳者，自今日永無散失，以與天下萬世共讀之。”有“林汲山房”，藏書達五萬卷，繪“林汲山房圖”。\n乾隆三十六年進士，後因入館編纂《四庫全書》，欽賜翰林院庶吉士，散館授編修，任“校勘永樂大典纂修兼分校官”，負責《永樂大典》的輯校工作，輯出宋劉敞《公是集》、劉攽《公非集》、蘇過《斜川集》等十餘種罕見的重要文獻。乾隆五十六年（1791年）卒。",[1057,1058,1079,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937a447fa8f83e9b18464a7d2a354ba0.jpg",[6],{"id":828,"slug":8247,"title":5164,"dynasty":1300,"author":1670,"museum":1075,"description":8248,"tags":8249,"thumbUrl":8250,"material":1278,"size":8251,"collection":6,"collections":8252,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-shi-he-chao-240041","释文：\n官舍回深巷，频来识苑墙。缓吟春草秀，静语晚卮香。沙柳初藏鹊，溪云复满堂。似东发尊兄。何焯。\n款署：“似东发尊兄。何焯。”钤“何焯之印”白文印、“无勇”朱文印。\n本幅录明蔡羽五律诗《张膳部席上》的前六句，诗载钱谦益《列朝诗集》丙集卷十。书法笔力劲健，布局舒阔明朗，为何焯大字行书佳作。",[1059,1060,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf7b508a1eb8826c26265b63b4f7a4c.jpg","纵117.8厘米，横60.3厘米",[6],{"id":829,"slug":8254,"title":8255,"dynasty":1173,"author":8256,"museum":1075,"description":8257,"tags":8258,"thumbUrl":8260,"material":5792,"size":8261,"collection":6,"collections":8262,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"song-cao-wu-lv-shi-zhou-song-cao-240023","宋曹五律诗轴","宋曹","释文：\n秋空尚幽独，萧散意何长。绝壁凌苍翠，飞泉入混茫。天真陶静夜，道力忍坚霜。月出鸟栖息，林辉绕四荒。皋园之一，射陵宋曹。\n下钤“射陵宋曹”、“中秘旧史”印2方，引首钤“射陵”印。无鉴藏印。\n宋曹所擅长的行草书通常呈现两种风格，一种瘦劲雄秀，一种沉着厚重，后者较为常见。此轴属后种风格，用笔丰肥，墨色浓厚，笔力沉着，时出侧锋，为其典型风貌。",[2173,1059,1060,1061,3115,8259,1062],"诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c7290b3649cb8afd2929d52c7342b7.jpg","纵84.8厘米，横44.5厘米",[6],{"id":830,"slug":8264,"title":5700,"dynasty":1300,"author":6875,"museum":1075,"description":8265,"tags":8266,"thumbUrl":8267,"material":2331,"size":8268,"collection":6,"collections":8269,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-liang-yan-239993","梁巘，字闻山，一作文山，号松斋。安徽亳州人，工书法，真书、行书皆长，尤擅草书。梁巘作书勤奋，以苦为乐。至今，在亳州、太和、凤阳、寿县一带还流传着“无梁不成家，无梁不为富”的说法。可见梁巘书法的影响力之大。",[1059,1060,1061,1080,1062,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9335ecfd5f31db164c60147004c97.jpg","117×56.5cm",[6],{"id":831,"slug":8271,"title":7165,"dynasty":1300,"author":8272,"museum":1075,"description":8273,"tags":8274,"thumbUrl":8275,"material":1278,"size":8276,"collection":6,"collections":8277,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-shi-zhou-chen-yi-xi-239984","陈奕禧","陈奕禧书取法晋人，功力精湛，加之学养深厚，故小楷精稳，大字沉着浑融，风度优雅。清人王士祯评陈奕禧书品时称“只为胸中多几百卷书耳”，道出了陈香泉书法的魅力所在。此作线条圆活，章法疏朗宽绰，姿致俊逸遒媚，字里行间浸透出陈奕禧这位文人书家的绰然风雅。",[1579,1059,1060,1061,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bbbfcbfabee82c87a2a23faaa7d697.jpg","纵129.5厘米，横50.2厘米",[6],{"id":832,"slug":8279,"title":8280,"dynasty":1300,"author":8109,"museum":1287,"description":8281,"tags":8282,"thumbUrl":8283,"material":1064,"size":1064,"collection":6,"collections":8284,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zhang-zhao-shu-su-shi-juan-zhang-zhao-239884","张照书苏诗卷","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。\n康熙四十八年（公元1709年）进士，改庶吉士。雍正十一年（公元1733年）官刑部尚书，以预修《大清会典》，书成，加一级。十三年，为抚定苗疆大臣，无功，革职拿问，谕靳。寻赦之，命在武英殿修书处行走。乾隆七年，历官至刑部尚书，供奉内廷。九年十二月，丁父忧，奔丧至徐州，卒于途中。谥文敏。乾隆时大书法家，常为乾隆皇帝代笔，擅长行楷书，是书“馆阁体”能手。性地高明，深通释典，诗多禅语。书法初从董其昌入手，继乃出入颜、米，天骨开张，气魄浑厚。兼能画兰，间写墨梅，疏花细蕊，极其秀雅。尝作白描大士像，寥寥数笔，而法相自佳。著天瓶斋书画题跋、得天居士集，刻有天瓶斋帖。卒年五十五。",[1055,1059,1060,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff210504616148f59ecb9b03dbd7a8ae9.jpg",[6],{"id":833,"slug":8286,"title":7351,"dynasty":1173,"author":8287,"museum":1287,"description":8288,"tags":8289,"thumbUrl":8290,"material":1064,"size":1064,"collection":6,"collections":8291,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-yuan-jiong-239807","袁褧","袁褧，明藏书家、刻书家，字尚之，号谢湖，别号中皋子、谢湖居士，吴郡（今江苏苏州）人，书法与米芾，与文征明齐名。",[1058,1059,1060,1080,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3a270e8015162a38b2d3cf5a3e9e03.jpg",[6],{"id":834,"slug":8293,"title":8294,"dynasty":1173,"author":8295,"museum":1287,"description":8296,"tags":8297,"thumbUrl":8301,"material":1064,"size":1064,"collection":6,"collections":8302,"showCount":1260,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-yan-shi-ye-wen-zhen-heng-239801","五言诗页","文震亨","文震亨（1585-1645），字启美，作家、画家、园林设计师，出生地为长洲县（今江苏省苏州市），明代书画家文徵明的曾孙，东阁大学士文震孟之弟。\n天启五年（1625年）恩贡，曾参与五人事件，营救被魏忠贤迫害的周顺昌。崇祯初，任中书舍人、武英殿给事。\n明灭亡后，曾任职于南明，遭到阮大铖、马士英等排挤，辞官退隐。\n弘光元年（清顺治二年，1645年），清军攻占苏州后，避居阳澄湖。清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少好诗古文，晚岁画宗扬补之，水仙似赵孟坚。墨梅古趣洋溢，墨兰雅润，不专一家。或肆为粉披，或敛为简淡，皆天真自然，不求妍妙而别饶风趣。 [1] 诗文师大苏，音格高雅，赋骈体皆师唐、宋，居词馆三十余年，文名动天下。卒年六十八。所著有《南雅诗文钞》，《清史列传》行于世。",[1060,1061,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537079440bf1da33f780cf7b1a014b4e.jpg",[6],{"id":848,"slug":8398,"title":7882,"dynasty":1300,"author":8399,"museum":1075,"description":6436,"tags":8400,"thumbUrl":8401,"material":5792,"size":6439,"collection":6,"collections":8402,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-tie-zhou-wang-ze-241400","王泽",[1059,1291,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc72eb87ba879f31dbddc86e5843ef.jpg",[6],{"id":849,"slug":8404,"title":8405,"dynasty":1300,"author":8406,"museum":1287,"description":8407,"tags":8408,"thumbUrl":8409,"material":1098,"size":1064,"collection":6,"collections":8410,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-jie-lin-zhao-wen-min-bao-yun-si-bei-zhou-shen-zong-jing-241380","行节临赵文敏宝云寺碑轴","沈宗敬","沈宗敬（1669—1735）《清朝畫徵錄》作雍正三年（1725）卒，清朝書畫家筆錄從之。字恪庭、南季，號獅峯、獅峯道人、雙鶴老人、雙杏草堂主人、卧虛山人等，華亭（今松江屬上海市）人，沈荃之子。今依歷代畫史匯傳。",[1059,1060,1291,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570db20bb1c34f1503be051ab51a2872.jpg",[6],{"id":850,"slug":8412,"title":6722,"dynasty":1300,"author":8413,"museum":1287,"description":8414,"tags":8415,"thumbUrl":8416,"material":1098,"size":1064,"collection":6,"collections":8417,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-zhou-shen-sheng-qi-241379","沈圣岐","万历时人。善书。诗余画谱有其所书。",[1059,1060,1061,1062,2933,1792,6558,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfa9905c2c722d08994fd79fd112cb9.jpg",[6],{"id":851,"slug":8419,"title":6986,"dynasty":1173,"author":8420,"museum":1287,"description":8421,"tags":8422,"thumbUrl":8423,"material":1098,"size":1064,"collection":6,"collections":8424,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-yu-shao-zhi-241294","余绍祉","此卷以狂草挥就，笔墨奔涌如江河泻地，满纸纵横捭阖，尽显跌宕意气。字势大小欹侧错落，章法疏密相生，起首从容铺陈，中段笔力愈沉，线条盘旋缠绕如蛟龙腾跃，枯湿浓淡交叠，枯笔似老树虬枝苍劲，润笔若惊鸿掠水灵动。整卷将胸臆豪情尽数铺陈，提按顿挫间皆是不羁风骨，把草书的抒情性发挥到极致，末段敛锋收束却余韵悠长，观之如见书家挥毫时的酣畅快意。",[1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca7de2c7482946df1e84f4c149e3e59.jpg",[6],{"id":852,"slug":8426,"title":7304,"dynasty":1173,"author":8427,"museum":1287,"description":8428,"tags":8429,"thumbUrl":8430,"material":1098,"size":1064,"collection":6,"collections":8431,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-jue-zhou-liu-yuan-shi-241227","刘元士","此作用笔老辣苍劲，线条圆劲灵动，牵丝映带间尽显草书流走之美。字势大开大合，行气贯通如一，笔墨枯湿浓淡自然变幻，将诗意融于笔端。整幅书作兼具法度与写意，笔意带着山林野逸之趣，疏朗散淡间尽显文人心境，尽显晚明尚韵尚奇的书风特质，是抒情性与笔墨表现力相融的草书精品。",[2173,1061,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597afb841dad9853b8fa675f1c4dd163.jpg",[6],{"id":853,"slug":8433,"title":7874,"dynasty":1173,"author":8434,"museum":1287,"description":8435,"tags":8436,"thumbUrl":8437,"material":1098,"size":1064,"collection":6,"collections":8438,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-lv-shi-zhou-chen-wei-yue-241225","陈维岳","生卒年均不详，约清圣祖康熙八年前后在世。刻苦励学，与仲兄维嵋皆有文名。徐乾学、朱彝尊皆推重之。维岳著有秋水阁古文一卷，潘鬓诗二卷，红盐词二卷，并传于世。",[1173,1058,1061,1059,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1220140da4e43944eaac8222e43e5f06.jpg",[6],{"id":854,"slug":8440,"title":8441,"dynasty":1173,"author":8442,"museum":1287,"description":8443,"tags":8444,"thumbUrl":8445,"material":1098,"size":1064,"collection":6,"collections":8446,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-yao-xian-wen-zha-juan-yang-lian-241186","致姚现闻札卷","杨涟","杨涟（1572年7月10日－1625年8月28日），字文孺，号大洪，汉族，湖广应山（今属湖北广水）人。明末著名谏臣，东林党人，“东林六君子”之一。\n万历三十五年（1607年），杨涟登进士第。初任常熟知县，举全国廉吏第一，入朝任户科给事中、兵科给事中。明神宗病危时，杨涟力主太子朱常洛（明光宗）进宫服侍神宗。光宗即位后，他极力反对郑贵妃求封皇太后。光宗病重时，杨涟上疏力陈其过失，得以获光宗召见，受顾命之任。李选侍在光宗逝世后，欲挟太子朱由校（明熹宗）把持朝政。杨涟说服朝臣，挺身而出，闯进乾清宫，拥熹宗即位，并逼李选侍移出乾清宫，安定朝局。累迁至左副都御史。\n天启五年（1625年），因弹劾魏忠贤二十四大罪，被诬陷受贿二万两，历经拷打，惨死狱中。崇祯元年（1628年），杨涟获平反，追赠太子太保、兵部尚书，谥号“忠烈”。有《杨忠烈公文集》传世。\n杨涟终生致力于争“红丸案”、“移宫案”以正宫闱，反阉党以遏止魏忠贤，为挽救混乱的政局献出了自己宝贵的生命。",[1055,1059,1060,1110,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1945b7f5c8f316b93aae84afdc083e.jpg",[6],{"id":855,"slug":8448,"title":5547,"dynasty":1300,"author":8449,"museum":1287,"description":8450,"tags":8451,"thumbUrl":8452,"material":1064,"size":1064,"collection":6,"collections":8453,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-shi-zhou-liu-tong-xun-241136","刘统勋","刘统勋（1700年2月11日—1773年12月29日），字延清，号尔钝，青州府诸城县（今山东省高密市）人。清朝大臣、政治家，刘墉的父亲。\n雍正二年（1724年），考中进士，选为庶吉士、翰林院编修，历任南书房行走、上书房行走和东宫詹事等。乾隆帝继位，历任刑部侍郎、左都御史、漕运总督、太子太傅兼陕甘总督、工部尚书、吏部尚书、翰林院掌院学士、军机大臣、东阁大学士、国史馆总裁 [1] 。为政四十余年，清廉正直，敢于直 谏，在吏治、军事、治河、修史等方面均有显著政绩。\n乾隆三十八年（1773年），去世，时年七十五，获赠太傅，谥号文正。",[1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaad8b364873777a4241de58886d8b00.jpg",[6],{"id":856,"slug":8455,"title":5700,"dynasty":1300,"author":8456,"museum":1287,"description":8457,"tags":8458,"thumbUrl":8461,"material":1098,"size":1064,"collection":6,"collections":8462,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[1058,1061,1060,1059,1062,8459,1251,8460,1249,6151,7224,2768,2935,2932,1794,1825,4244,1772],"寒山","湖山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[6],{"id":857,"slug":8464,"title":8465,"dynasty":1173,"author":8466,"museum":1287,"description":8467,"tags":8468,"thumbUrl":8469,"material":1098,"size":1064,"collection":6,"collections":8470,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"deng-she-shan-shi-zhou-ye-xiang-gao-241057","登摄山诗轴","叶向髙","叶向高（1559年9月1日－1627年10月7日），字进卿，号台山，晚号福庐山人，福州府福清（今福建福清市）人。明朝大臣、政治家，万历、天启年间两度出任内阁辅臣。\n万历十一年（1583年），考中进士，授职庶吉士，随后提升为翰林院编修，历任南京国子司业、太子左中允。万历二十六年（1598年），升为太子左庶子。上疏请求取消矿税、撤矿税监，被沈一贯排挤出京，转任南京礼部右侍郎。万历三十五年（1607年），升任礼部尚书、东阁大学士。万历三十六年（1608年）后，一人主持阁务达七年之久，人称“独相”。万历四十二年（1614年），连上六十二道奏疏请求致仕，获准回乡。天启元年（1621年），二度入阁为首辅。由于阉党势力过于强大，叶向高不甘受误国之骂名，又连上六十七道奏疏请辞。天启四年（1624年），叶向高以太子太傅致仕。\n天启七年（1627年），叶向高病逝，终年六十九岁。崇祯初年，追赠太师，谥号文忠。\n叶向高善于决断大事，任首辅期间，为明神宗出谋划策，调剂大臣之间的关系，更对维护太子正统、遏制魏忠贤的势力起到了不可替代的作用。",[1059,1061,1060,1080,1767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0f7adaa6165376a44749ffd29eb0f.jpg",[6],{"id":858,"slug":8472,"title":8473,"dynasty":1300,"author":8474,"museum":1287,"description":8475,"tags":8476,"thumbUrl":8477,"material":1098,"size":1064,"collection":6,"collections":8478,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-yan-zhou-gong-you-rong-241021","七言轴","龚有融","龚有融（1755～1831）清著名书画家。字晴皋，号绥山樵子，晚号拙老人，清四川省重庆府巴县人。祖父辈由营山县迁入巴县，定居西里冷水场（今重庆九龙坡区华岩乡）。\n乾隆四十四年（1779年）举人。后屡试春闱不第，以游幕和馆课为生。嘉庆十七年（1812）大挑一等，选山西崞县（今原平县）知县。旧例新令至可得数千金。龚有融单车抵县，破旧例，却金不受。在官三年，多惠政。\n会抚军巡县，供张之费，须敛民财，有融不忍，亲自支应。驺从哄于署。是时有融方食，惟麦饭豆菽，举以示之曰：“此吾所自奉，共食何如？”次日抚军启行，呼左右不即至，抚军不悦。\n未几，调任石楼知县，有融年已六十，宦情淡薄，遂称病辞官。崞县民众攀辕泣送，为立生祠祀之。归里薄置田宅，自题宅旁小溪曰“退溪”。于石碾房课徒讲学，名曰“碾斋书堂”。\n教授勤恳，远近才俊，慕名来学者众，至屋舍不能容，造就颇多。间应朋友之请，作书画得润笔以自给。晚年自号“拙老人”。高简不轻出，当道欲图一见不可得，亟重其画。某太守生辰，郡人将制锦以献。太守曰：“以幅纸得龚先生书画足矣。”有融时馆于城，竟走避。比太守拜见，不见，亦不答。\n道光十一年（1831）病卒于家。崇祀乡贤祠。",[1300,1058,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb12e447b9f0ed29a963d7f48cf90b4.jpg",[6],{"id":859,"slug":8480,"title":4916,"dynasty":1300,"author":8481,"museum":1287,"description":8482,"tags":8483,"thumbUrl":8486,"material":1098,"size":1064,"collection":6,"collections":8487,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-gu-zhou-cao-ting-dong-241019","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[1059,1061,1060,1062,1451,4550,8484,2027,8485,1556,1792,1362],"渭水","孤帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[6],{"id":860,"slug":8489,"title":8490,"dynasty":1300,"author":4299,"museum":1287,"description":8491,"tags":8492,"thumbUrl":8493,"material":1098,"size":1064,"collection":6,"collections":8494,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-zha-juan-cha-shi-biao-241016","书札卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[1057,1058,1110,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c8f1c05b13de6e1378bbda9cad11c4.jpg",[6],{"id":861,"slug":8496,"title":8497,"dynasty":1173,"author":7119,"museum":1287,"description":8498,"tags":8499,"thumbUrl":8500,"material":1098,"size":1064,"collection":6,"collections":8501,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"juan-pian-yang-shen-240999","卷片","此卷行书信札笔意萧散疏朗，尽显明代文人的清逸襟怀。起笔收锋自在随心，牵丝映带间可见笔力遒劲温润，字间排布错落有呼吸感，毫无刻意雕琢之态。\n\n尺牍间皆是日常酬答絮语，将文士往来的雅融于笔墨之中，笔端带着蜀地学人特有的清隽疏放，又沉淀着治学岁月浸润出的静穆雅致。淡墨晕开在古旧笺纸上，晕染出经年的时光痕迹，静静弥散出古雅的书卷意绪。",[1059,1060,1110,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1444236e2954e2fcb372b1539e1e33.jpg",[6],{"id":862,"slug":8503,"title":8504,"dynasty":1173,"author":8505,"museum":1287,"description":8506,"tags":8507,"thumbUrl":8508,"material":1098,"size":1064,"collection":6,"coll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随文势渐次舒展，牵丝映带自然圆融，尽显书写时的流畅意趣。\n\n章法疏密相宜，纵有行而字间呼吸得当，落款小字清雅恭谨，与正文形成虚实对比。墨色干湿浓淡错落，枯笔见筋骨力道，润笔显腴润质感，将书法技法体悟化入笔底。以笔墨书书论，文与艺相融，清逸朴雅间尽显文人书卷气，是清代帖学风貌的典型体现。",[1059,1058,1061,1060,1093,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdfff3f577e4ef218e2bc604098ad544.jpg",[6],{"id":877,"slug":8621,"title":8622,"dynasty":1173,"author":8623,"museum":1287,"description":8624,"tags":8625,"thumbUrl":8626,"material":1098,"size":1064,"collection":6,"collections":8627,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lu-xiang-sheng-shi-zhou-lu-xiang-sheng-240297","卢象昇诗轴","卢象昇","卢象升（1600年4月16日—1640年1月10日），字建斗，又字斗瞻、介瞻，号九台，南直隶常州府宜兴县（今江苏宜兴）人。明末杰出将领。万历二十八年三月四日（1600年4月16日），卢象升生于常州府宜兴县张渚镇。\n天启二年（1622年）进士。自崇祯六年（1633年）起，参与镇压李自成等农民军有功，升任右副都御史，总理河北、河南、山东、湖广、四川军务，兼湖广巡抚，后升任兵部侍郎，再迁兵部左侍郎，总督宣府、大同、山西军务。崇祯七年（1634年），击溃张献忠农民军。崇祯八年（1635年），击败高迎祥、李粜自成洎农民頭军。樤崇祯十一年（1638年），担任兵部尚书，力主抗清，守卫京师，连战皆捷，反被太监高起潜陷害，免去尚书职务，以侍郎视事。著有《卢忠肃公集》、《卢象升疏牍》。\n崇祯十二年（1639年），率部在巨鹿贾庄被清军包围，高起潜拥兵不救，终因炮尽矢绝，战死疆场，年仅三十九岁，追赠太子太师、兵部尚书。南明福王时，追谥“忠烈”。清朝，追谥“忠肃”。",[1057,1058,1061,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbff6ef8793eae0f03f8071c1660f4e.jpg",[6],{"id":878,"slug":8629,"title":7463,"dynasty":1300,"author":8630,"museum":1287,"description":8631,"tags":8632,"thumbUrl":8633,"material":1098,"size":1064,"collection":6,"collections":8634,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lu-yu-zhou-yin-zhuang-tu-240200","尹壮图","尹壮图，字楚珍，云南蒙自人，于乾隆三十一年（1766年）考中进士，乾隆三十九年（1774年）入阁任内阁学士，兼礼部侍郎。乾隆五十五年（1790年），他上书乾隆皇帝，向皇帝直言议罪银制为朝廷带来的不利。关于这件事，《清史稿》中有详细的记载",[1579,1058,1061,1060,1062,1059,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c91df5a1a2e7742c119d9e8bc9f427.jpg",[6],{"id":879,"slug":8636,"title":6986,"dynasty":1173,"author":2655,"museum":1287,"description":8637,"tags":8638,"thumbUrl":8639,"material":1098,"size":1064,"collection":6,"collections":8640,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-zhang-rui-tu-240194","明代市民阶层崛起，经济领域以及意识形态都发生了巨大变化。思想文化领域出现了以解放个性为中心的王阳明心学。美学思想也不例外，在书法上主要是强调创作源于心灵，以师心代替师古，突破前人束缚,独抒性灵。\n明代中期以后，陈淳、徐渭以其狂放不羁的个性和骇世惊俗的面目，首先在书坛上掀起波澜，传统的审美范式受到了强有力的冲击。时至明末清初，张瑞图、黄道周、王铎、倪元璐、傅山等脱颖而出。他们以一种纵横豪迈酣畅的气势，形成了一股十分引人注目的求异出新的浪潮。",[1055,1058,1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf8c4caf7c2415220fb939c272e16a8.jpg",[6],{"id":880,"slug":8642,"title":8643,"dynasty":1300,"author":8644,"museum":1075,"description":8645,"tags":8646,"thumbUrl":8647,"material":1098,"size":1064,"collection":6,"collections":8648,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wen-zhou-cao-zhen-xiu-240184","文轴","曹贞秀","曹贞秀(1762-1822)，字墨琴，自署写韵轩，安徽休宁人，侨居吴门，为曹锐女，王芑孙妻，无金粉之好，能绘事，书法钟王，士林重之。",[1057,1058,1061,1060,1148,1078,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824c855bb34f23e3b4e8153b00263aba.jpg",[6],{"id":881,"slug":8650,"title":5700,"dynasty":1300,"author":8651,"museum":1287,"description":8652,"tags":8653,"thumbUrl":8654,"material":1064,"size":1064,"collection":6,"collections":8655,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-sun-shi-jie-240183","孙世杰","此作用笔纵逸苍劲，以中锋立骨、侧锋取势，提按顿挫间尽显老辣雄奇。章法错落跌宕，字势欹侧相生，墨色浓枯变幻自然，重墨处浑穆淋漓，枯笔飞白间尽显苍茫意趣。\n整幅以行草书写就自作诗篇，笔墨与文辞相得益彰，既有北碑的雄强浑朴，又不失帖学的灵动流转，将郁勃豪迈的意气寄寓于点画之间，尽显清初行草书尚势的典型风尚，尽显书家不俗的胸襟与扎实笔力，是极具个性风貌的书法佳构。",[1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba6ffce4540c25f4e4241c2da97e86a.jpg",[6],{"id":882,"slug":8657,"title":8658,"dynasty":1300,"author":8659,"museum":1287,"description":8660,"tags":8661,"thumbUrl":8662,"material":1287,"size":1064,"collection":6,"collections":8663,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"si-jia-shou-zha-juan-sun-cheng-ze-240170","四家手札卷","孙承泽","孙承泽（1593-1676），字耳北，一作耳伯，号北海，又号退谷，一号退谷逸叟、退谷老人、退翁、退道人，山东益都人，世隶顺天府上林苑（今河北大兴）。明末清初政治家、收藏家。明崇祯四年（1631）中进士。官至刑科给事中。先投降李自成大顺政权，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[1055,1059,1110,1060,1148,1062,1080,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[6],{"id":883,"slug":8665,"title":7351,"dynasty":1173,"author":8666,"museum":1287,"description":8667,"tags":8668,"thumbUrl":8669,"material":1098,"size":1064,"collection":6,"collections":8670,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-fa-kun-hou-240118","法坤厚","字南峯，号黄棠，别号白石山人。\n若真（一六一三至一六九六）曾孙，胶州贡生。善画，得若真不传之秘。《山左诗续抄》",[2173,1059,1060,1080,1098,1079,5551,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab758464cc484e02e98853ea6167de6.jpg",[6],{"id":884,"slug":8672,"title":8673,"dynasty":1173,"author":1601,"museum":1287,"description":8674,"tags":8675,"thumbUrl":8676,"material":1098,"size":1064,"collection":6,"collections":8677,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065",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清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[1055,1056,1057,1058,1110,1080,1062,1059,1148,1060,1093,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[6],{"id":885,"slug":8679,"title":5700,"dynasty":1300,"author":8680,"museum":1287,"description":8681,"tags":8682,"thumbUrl":8683,"material":1098,"size":1064,"collection":6,"collections":8684,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-liu-liang-song-240025","刘梁嵩","刘梁嵩. 字玉少，江南江都人。康熙甲辰进士",[1579,1059,1060,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c619ea66d77d5eb18f789bb069cbd9.jpg",[6],{"id":886,"slug":8686,"title":8687,"dynasty":1173,"author":8688,"museum":1075,"description":8689,"tags":8690,"thumbUrl":8692,"material":1098,"size":8693,"collection":6,"collections":8694,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[1055,1059,1110,1060,1291,1062,1080,1248,2569,4183,5634,3068,8691,1825,1794,1767,2932,1251,1305],"浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[6],{"id":887,"slug":8696,"title":7351,"dynasty":1173,"author":8697,"museum":1287,"description":8698,"tags":8699,"thumbUrl":8700,"material":1064,"size":1064,"collection":6,"collections":8701,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-zhao-shi-xian-240007","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[1059,1060,1080,1173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5938d878c15dc0239a99ad47afab2e26.jpg",[6],{"id":888,"slug":8703,"title":8704,"dynasty":1173,"author":2361,"museum":1287,"description":8705,"tags":8706,"thumbUrl":8707,"material":1064,"size":1064,"collection":6,"collections":8708,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[2173,1059,1060,1098,1080,1592,2050,2859,1350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[6],{"id":889,"slug":8710,"title":8711,"dynasty":1173,"author":8712,"museum":1287,"description":8713,"tags":8714,"thumbUrl":8715,"material":1064,"size":1064,"collection":6,"collections":8716,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"zeng-zhao-da-yin-shi-zhou-zhu-gang-239990","赠赵大尹诗轴","朱棡","朱棡（1358年12月18日 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注：广东省新安县，后名宝安县，今天广东省深圳市），主修是当时的新安县令舒懋官。",[1058,1059,1060,1079,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087d44b374c08fa1ebbe93d73efb220.jpg",[6],{"id":891,"slug":8725,"title":8726,"dynasty":1173,"author":8727,"museum":1287,"description":8728,"tags":8729,"thumbUrl":8730,"material":1064,"size":1064,"collection":6,"collections":8731,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[1059,1060,1110,1080,1058,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[6],{"id":892,"slug":8733,"title":8734,"dynasty":1173,"author":8735,"museum":1287,"description":8736,"tags":8737,"thumbUrl":8738,"material":1064,"size":1064,"collection":6,"collections":8739,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） 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著有《已宽堂集》。",[1057,1058,1079,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30f126de5b03811bb887d5764c53e96.jpg",[6],{"id":899,"slug":8788,"title":8789,"dynasty":1050,"author":2361,"museum":1287,"description":8790,"tags":8791,"thumbUrl":8792,"material":1064,"size":1064,"collection":6,"collections":8793,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"song-xian-yi-han-ce-wang-sheng-qiu-shen-tie-yi-ming-239717","宋贤遗翰册-王升秋深帖","此作用笔纵逸洒脱，以行草写就，牵丝映带自然圆融，尽显尚意风神。点画间提按顿挫节奏明快，墨色枯湿浓淡交叠，粗细线条相映成趣。\n章法疏朗错落，字势开合自如，通篇气息流转浑融，将尺牍里的惦念之意藏入笔墨。随性挥洒间不失沉稳法度，萧散雅致的笔意里，暗合着文人间日常酬答的悠悠情思，把寻常牵挂化作纸上动人韵致。",[1059,1060,1079,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f9574ade223ffd2ff0d1f826e970b9.jpg",[6],{"id":900,"slug":8795,"title":8796,"dynasty":1050,"author":8797,"museum":1052,"description":8798,"tags":8799,"thumbUrl":8800,"material":1064,"size":1064,"collection":6,"collections":8801,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shou-xia-tie-ye-wang-sheng-239645","首夏帖页","王升","父王举逸，性至孝，郡县孝廉不就，慷慨好义，急人之急，曾令仆人驾船救溺，全活数十人。王升幼承家训，立志力学。明永乐元年(1403年)，乡试中举，永乐二年成进士，选翰林院庶吉士，奉敕到江西搜求遗书。复命后，先后任江西安福、湖广罗田二县知县，都有善政，调陕西平凉府推官，历升大理寺左评事，大理寺左寺正，复审刑部、都察院、五军断事官署所移狱讼案牍，务得其实，多所平反。当时有锦衣卫张千户系狱，定为死谳，升省其冤，遂予平反。宣德五年(1430年)五月，宣宗以知府多循资格不称职，其时有重要九郡缺守，命大臣举京官廉能者充任。遂擢郎中况锺等9人为知府。这年冬，复用薜广等29人任知府。王升受宰相杨士奇荐举，出任江西抚州(今属临州市地)知府。为政重在利民，设学校，兴礼教，遇到荒年，率先捐俸赈济，全活数千人。任职9年，秩满当迁，州民相率到京师，呈请留任，朝廷遂赐王升帛，进阶正三品，并准续任。经过两年，因病辞归。正统十三年(1448年)谢世，葬鹤鸣铺恒坑山。后人祀府学乡贤祠。《明史·循吏传》有小传",[1055,1059,1060,1062,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891453a5159e74f901fc904e2cc336a2.jpg",[6],{"id":901,"slug":8803,"title":8804,"dynasty":1073,"author":8805,"museum":1287,"description":8806,"tags":8807,"thumbUrl":8808,"material":1064,"size":1064,"collection":6,"collections":8809,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-shi-ce-ye-yu-yi-239621","书诗册页","庾益","庾翼（305年～345年8月16日），字稚恭。颍川鄢陵（今河南省鄢陵县）人。东晋中期将领、外戚、书法家，征西将军庾亮、晋明帝皇后庾文君之弟。世称小庾、庾征西 、庾小征西 。\n庾翼外表风仪秀伟，年轻时便有经世大略。苏峻之乱时以白衣身份守备石头城，又随庾亮逃奔温峤。事后，受太尉陶侃征辟，历任参军、从事中郎，后任振威将军、鄱阳太守，转任建威将军、西阳太守。庾亮准备北伐时，任命庾翼为南蛮校尉、南郡太守等职，镇守江陵，以协助保卫石城之功，封都亭侯。庾亮逝世后，出任都督六州诸军事、安西将军、荆州刺史，接替庾亮镇守武昌。后部署诸将，意图北伐，任征西将军、荆州刺史。永和元年（345年）去世，获赠车骑将军，谥号“肃”。有文集二十二卷。《唐会要》将其尊为魏晋八君子之一。\n庾翼工书法，《淳化阁帖》收录有《故吏帖》。《宣和书谱》称其“善草隶，与王羲之并驰争先。”有其草书《步征帖》、行书《盛事帖》。",[1059,1060,1079,1062,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d60c5bdf123eceac3fa035b04bbf5e.jpg",[6],{"id":902,"slug":8811,"title":8812,"dynasty":1173,"author":8813,"museum":1287,"description":8814,"tags":8815,"thumbUrl":8816,"material":1064,"size":1064,"collection":6,"collections":8817,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[1058,1059,1060,4506,1098,1733,1062,2173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[6],{"id":903,"slug":8819,"title":7263,"dynasty":1073,"author":7264,"museum":1075,"description":7265,"tags":8820,"thumbUrl":8821,"material":1278,"size":7268,"collection":6,"collections":8822,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"fa-jian-ye-tie-ye-li-xiao-guang-239565",[1055,1059,1060,1093,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c906c6059d7c65244bf7feabf0eba3.jpg",[6],{"id":904,"slug":8824,"title":4843,"dynasty":1300,"author":4844,"museum":1287,"description":8825,"tags":8826,"thumbUrl":8828,"material":1064,"size":1064,"collection":1309,"collections":8829,"showCount":1191,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-niao-guo-ce-li-qi-236717","此作用淡墨写菊，以清灵线条勾勒花瓣，舒展疏朗如带霜露。枝叶以浓淡墨色晕染，苍润相生，带着深秋萧疏意趣。枝梢停驻的草虫刻画工细，翅脉纤毫毕现，与写意花卉形成工写对照，一动一静间，篱边秋意呼之欲出。\n\n右侧行书题诗率意朴拙，笔墨与绘事相映成趣，融书画为一体，尽显文人雅趣。全幅不着一色，以水墨绘就深秋幽景，寥寥数笔便将霜菊清逸之态、小生灵鲜活之姿尽数捕捉，淡远清寂，尽显林下清雅之风，以简淡笔墨抒写出疏朗出尘的文人意韵。",[1057,1058,1079,1080,2235,1794,8827],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e807b5e5d3186d42fa40772be00fac.jpg",[1309,1189,6],{"id":905,"slug":8831,"title":8832,"dynasty":1050,"author":7089,"museum":1287,"description":7090,"tags":8833,"thumbUrl":8834,"material":1098,"size":1064,"collection":6,"collections":8835,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[1055,1110,1059,1290,1060,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[6],{"id":906,"slug":8837,"title":8838,"dynasty":1050,"author":2361,"museum":1287,"description":8839,"tags":8840,"thumbUrl":8841,"material":1098,"size":1064,"collection":6,"collections":8842,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-shao-xing-shi-san-nian-chi-shu-juan-yi-ming-241655","无款绍兴十三年敕书卷","此卷行书率意洒脱，尽显宋人尚意风神。用笔苍劲朴拙，提按转折皆见筋骨，线条粗细富于韵律，行气连贯舒展。绢本底色古雅沉静，墨色浓淡自然晕染，与错落钤印相映成趣。\n卷中敕文与题跋排布疏密有致，既有官家文书的端严规整，又不失文人书法的隽逸自在，笔墨间流转着宋时的风雅法度，藏着旧日文心与典制厚重，将实用文书与书法意趣完美相融。",[1055,1059,1058,1110,1060,1062,1414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030f99fe6451374a768cc8dff81941ef.jpg",[6],{"id":907,"slug":8844,"title":8845,"dynasty":1173,"author":8846,"museum":1287,"description":8847,"tags":8848,"thumbUrl":8850,"material":1098,"size":1064,"collection":6,"collections":8851,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[1059,1060,2013,4968,1062,6453,2173,8849,1733],"汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg",[6],{"id":908,"slug":8853,"title":8854,"dynasty":1300,"author":8855,"museum":1287,"description":8856,"tags":8857,"thumbUrl":8858,"material":2669,"size":2815,"collection":6,"collections":8859,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1386},"shou-zha-ce-cheng-si-ze-241477","手札册","程思泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[1300,1059,1060,1079,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c05567a82bd2efac943447edb694334.jpg",[6],{"id":909,"slug":8861,"title":8862,"dynasty":1300,"author":1369,"museum":1075,"description":8863,"tags":8864,"thumbUrl":8868,"material":1098,"size":8869,"collection":6,"collections":8870,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-lin-tie-lu-shi-wen-zhou-liu-yong-241409","书临帖录诗文轴","释文：\n野水参差落涨痕，踈林攲倒出霜根。扁舟一櫂向何处，家在江南黄叶村。 老松烧尽结轻花，妙法来从北李家。翠色冷光何所似，墙东鬒发堕寒鸦。刘墉。\n刘墉学古不追求外表的形似而注重用笔之法。起笔喜用藏锋，转折处用偃笔作折锋，字形丰满圆润，内中骨力强劲，犹如棉里裹铁；用墨于润中见枯，拙中见巧；结体疏密有致，点划轻灵多变，气韵苍遒。清人张维屏在《松轩随笔》中指出刘墉的书法特征：“貌丰骨劲，味厚神藏，不受古人牢笼，超然独出”，可谓中的。康有为也高度评价刘墉的书法成就：“力厚思沈，筋摇脉聚。近世行草书作浑厚一路，未有能出石庵之范围者，吾故谓石庵集帖学之成也。”\n作为刘墉书法的代表作，这件作品体现了上述多种特征。所书内容取自苏轼二首诗“书李世南所画秋景二首”其一，见《全宋诗》卷十八；“谢宋汉杰惠李承晏墨”，见《全宋诗》卷二十三。",[1098,1060,1291,8865,8866,2404,8867,1062],"墨色厚重","中锋行笔","笔力浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg","纵102厘米，横58.5厘米",[6],{"id":910,"slug":8872,"title":5891,"dynasty":1173,"author":8782,"museum":1287,"description":8873,"tags":8874,"thumbUrl":8875,"material":1098,"size":1064,"collection":6,"collections":8876,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-zhou-chen-liu-241223","字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[2173,1059,1060,1061,1080,1098,1058,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[6],{"id":911,"slug":8878,"title":8879,"dynasty":1173,"author":8880,"museum":1287,"description":8881,"tags":8882,"thumbUrl":8883,"material":1098,"size":1064,"collection":6,"collections":8884,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-lv-er-shou-zhou-dang-chong-ya-241219","五律二首轴","党崇雅","党崇雅（1584年—1666年），字于姜，明末清初陕西省宝鸡市蟠龙镇人。\n明天启5年（1625）进士。累观官户部侍郎，督饷天津。清顺治元年（1644）在通州降大顺，仍于户部任职，同年6月降清，以原职赴京补用，9月改任刑部侍郎。以明律为基础，草拟成《大清律集解附例》。顺治元年（1644）秋，上奏将施死刑分为立决和监候，建议恢复朝审和秋审。顺治六年（1649），为刑部尚书、太子太保，顺治八年（1651）改户部，顺治九年（1652）请老归。顺治十一年（1654）特旨起用授翰林国史院大学士加太保兼太子太傅，时人呼为党阁老。顺治十三年（1656）再乞休，获准。\n被列入中国历代名相录，明清时期宝鸡政治地位最高、历史影响最大的文化名人。",[2173,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e22916986bad572a3300334c732211.jpg",[6],{"id":912,"slug":8886,"title":8887,"dynasty":1173,"author":8888,"museum":1287,"description":8889,"tags":8890,"thumbUrl":8891,"material":1098,"size":1064,"collection":6,"collections":8892,"showCount":1129,"zanCount":1385,"manualWeight":1068,"mainColor":1103},"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡。 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[1173,1060,1059,1110,2236,1767,1251,1825,7766,1794,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[6],{"id":913,"slug":8894,"title":8895,"dynasty":1173,"author":8896,"museum":1287,"description":8897,"tags":8898,"thumbUrl":8899,"material":1098,"size":1064,"collection":6,"collections":8900,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 顾璘亦是弘治十才子之一。著有《浮湘集》《山中集》《息园诗文稿》等。又曾评注杨士弘《唐音》。",[1055,1058,1110,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b81495bbea7aed66ceb820bd011dfa2.jpg",[6],{"id":914,"slug":8902,"title":8903,"dynasty":1300,"author":8904,"museum":1287,"description":8905,"tags":8906,"thumbUrl":8907,"material":1098,"size":1064,"collection":6,"collections":8908,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lv-liu-liang-shi-juan-lv-liu-liang-241067","呂留良诗卷","呂留良","吕留良（1629—1683），明末清初杰出的学者、思想家、诗人和时文评论家、出版家。又名光轮，一作光纶，字庄生，一字用晦，号晚村，别号耻翁、南阳布衣、吕医山人等，暮年为僧，名耐可，字不昧，号何求老人。浙江崇德县（今浙江省桐乡市崇福镇）人。\n顺治十年应试为诸生，后隐居不出。康熙间拒应满清的鸿博之征，后削发为僧。死后，雍正十年被剖棺戮尸，子孙及门人等或戮尸，或斩首，或流徙为奴，罹难之酷烈，为清代文字狱之首。\n吕留良著述多毁，现存《吕晚村先生文集》《东庄诗存》。",[1059,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef5c772338fd427f0f598422ea971a9.jpg",[6],{"id":915,"slug":8910,"title":8911,"dynasty":1173,"author":8688,"museum":1075,"description":8689,"tags":8912,"thumbUrl":8913,"material":1098,"size":8914,"collection":6,"collections":8915,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lin-jie-jin-shi-juan-cai-yu-240987","临解缙诗卷",[1056,1057,1058,1110,1291,1060,1148,1059,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[6],{"id":916,"slug":8917,"title":8918,"dynasty":1300,"author":8919,"museum":8920,"description":8921,"tags":8922,"thumbUrl":8923,"material":1165,"size":8924,"collection":6,"collections":8925,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jiang-shu-zhai-lin-tie-zhou-jiang-shu-zhai-240986","姜淑斋临帖轴","姜淑斋","青岛市博物馆","姜淑斋生卒不详，活动于公元十七世纪。女，山东青岛胶州人。号广平内史。精于行草，师法二王，得力于《十七帖》。上图草书临王羲之《司州帖》,凡四行。用笔稳劲秀润，精微入神，连绵大草跌宕起伏，纵肆牵连中别具遒迈之姿。笔力矫健，不类女子。",[1059,1291,1061,1148,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ee28c59e0340327e76871eb5e4f959.jpg","纵224.5， 横52厘米",[6],{"id":917,"slug":8927,"title":6026,"dynasty":1300,"author":8928,"museum":1287,"description":8929,"tags":8930,"thumbUrl":8931,"material":2669,"size":2815,"collection":6,"collections":8932,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-zha-ce-li-hong-zao-240750","李鸿藻","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[1059,1060,1079,5646,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388e390d504ab77cc2ae8c655dece775.jpg",[6],{"id":918,"slug":8934,"title":8935,"dynasty":1173,"author":8936,"museum":1287,"description":8937,"tags":8938,"thumbUrl":8939,"material":1098,"size":1064,"collection":6,"collections":8940,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"wu-jia-kai-ren-zhai-shi-juan-lu-xiang-240598","五家楷忍斋诗卷","庐襄","大观元年（1107）进士，解褐提举淮南西路学事，宣和七年（1125），由知江宁府迁江南东路提点刑狱，靖康元年（1126）除兵部侍郎，时金兵攻破京都汴梁，因抗敌不力贬谪，后因推册张邦昌建伪政府，建炎初贬谪衡州，晚年归隐烂柯山。与夫人徐氏合塟衢州西安县十八都天保乡新碓高圹之地。着有《西征记》、《烂柯集》存世，其中尤以编著《锦绣万花谷》而享誉当世。",[1055,1059,1078,1060,1110,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd199c5b931b018637135471e98fee52.jpg",[6],{"id":919,"slug":8942,"title":8943,"dynasty":1173,"author":8944,"museum":1052,"description":8945,"tags":8946,"thumbUrl":8947,"material":1098,"size":1064,"collection":6,"collections":8948,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"po-yang-hu-wan-po-shi-juan-lu-ying-yang-240580","鄱阳湖晚泊诗卷","陆应阳","陆应阳. 生卒年不祥。字伯生。明江苏青浦人。晚年移居郡城，即松江府。",[1055,1056,1057,1058,1110,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a20818015d5300f365a9183f37962c7.jpg",[6],{"id":920,"slug":8950,"title":8951,"dynasty":1173,"author":2361,"museum":1287,"description":8952,"tags":8953,"thumbUrl":8954,"material":1098,"size":1064,"collection":6,"collections":8955,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhang-zhen-xian-qi-lv-shi-ye-yi-ming-240204","张振先七律诗页","此作为行书七律诗页，笔致灵动秀逸，行气连贯畅达。起收转合间利落自然，牵丝映带尽显书写时的悠然韵律，粗细提按富有层次变化，将明人行书尚态的特质融于笔墨之中。通篇疏密排布得当，气息冲淡平和，以书法线条晕染出诗作里山居春日的静雅况味，把乡野幽居的闲适心境依托笔墨流转传递而出，诗书相融，尽显文人雅趣，是一件意韵悠长的书法小品。",[2173,1058,1059,1060,1062,1098,4506,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376044a439460565d2a209471703be3.jpg",[6],{"id":921,"slug":8957,"title":7165,"dynasty":1300,"author":8958,"museum":1287,"description":8959,"tags":8960,"thumbUrl":8965,"material":1098,"size":1064,"collection":6,"collections":8966,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-jue-shi-zhou-li-xian-gen-240197","李仙根","李仙根（1621-1690），字子靜，號南津，人稱“李侍郎”，四川遂寧船山區人。清代著名書法家、外交家。仙根為有清一代四川唯一榜眼，遂寧史上科名最高者。父李實，明代語言學家，知長洲縣。母為呂大器女，呂潛之姊。仙根與清代廉吏張鵬翮同籍，家在遂寧書枱山下。1654年參加四川鄉試，中舉。1661年參加順治十八年辛丑科會試，中進士。殿試廷對第二，成榜眼。1668到1669年奉使安南，為有清一代外交名臣。撰有《安南使事紀要》等。",[1058,1061,1060,1059,1062,8961,8962,8963,8964],"槐柳","曙色","楼台","天阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287d8f51f8cee8664ad39cd06b7fc010.jpg",[6],{"id":922,"slug":8968,"title":8969,"dynasty":1173,"author":2361,"museum":1287,"description":8970,"tags":8971,"thumbUrl":8972,"material":1064,"size":1064,"collection":6,"collections":8973,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wu-kuan-zheng-de-jiu-nian-chi-gao-fang-ji-qi-yang-shi-juan-yi-ming-240175","无款正德九年敕高淓及妻杨氏卷","此作为典型明代诰敕文书，以馆阁体书就，笔力沉实匀净，点画工整流丽，通篇字势端方厚重，尽显庙堂仪制的庄严肃穆。四方朱印朱砂饱满雄浑，朱红与墨色相映，古雅庄重。\n\n卷尾题跋笔墨稍见灵动，与敕书的规整形成反差，补述家世生平，让这份官方文书兼具典重与私人温情。泛黄绢面带着岁月晕染的包浆，沉淀出明代职官封赠制度的缩影，藏着大明宦途荣宠的百年旧影，静静诉说着旧时恩典的郑重与仕人荣光。",[1056,1057,1058,1110,1059,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920e269f338f2e0a84f180673c192d.jpg",[6],{"id":923,"slug":8975,"title":8976,"dynasty":1173,"author":2361,"museum":1287,"description":8977,"tags":8978,"thumbUrl":8981,"material":1098,"size":1064,"collection":6,"collections":8982,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-gao-ye-yi-ming-240115","诗稿页","此作用笔苍劲灵动，行书间带着草意的疏放，字势错落随性，毫无雕琢匠气。墨色枯湿浓淡相映，枯笔见骨力，润笔显腴润，牵丝映带自然连贯，将书写时的思绪流转藏在笔锋起落之间。\n\n通篇行气疏朗舒展，带着信笔挥毫的松弛意趣，诗书意气尽数融在笔墨中，尽显文人手札特有的鲜活温度，仿佛能窥见挥毫当下的悠然肆意，触摸到那份不拘格律、直抒胸臆的文人风神。",[2173,1059,1060,1080,5565,1792,1348,8979,8980],"佳人","雨歇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17184b5c5e86b0892b1609d3f5a67ce3.jpg",[6],{"id":924,"slug":8984,"title":7351,"dynasty":1173,"author":2361,"museum":1287,"description":8985,"tags":8986,"thumbUrl":8987,"material":1098,"size":1064,"collection":6,"collections":8988,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-yi-ming-240113","此作行书随性舒展，章法错落自在。墨色富于枯湿浓淡之变，重墨沉凝朴拙，枯笔疏朗萧散，线条圆劲中带着松放意趣。诗稿随性走笔，将感怀心绪寄寓于笔墨起落之间，文思与书情相融无间。\n\n通篇带着疏放自适的风雅意态，无刻意雕琢的匠气，是日常遣兴时的率意挥毫，将文人士子寄情诗酒、闲散自洽的心境展露无遗，尽显手写诗稿独有的鲜活书卷情致。",[1059,1060,1098,1080,2173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb238ae350d704eeb70b7ba2667db209.jpg",[6],{"id":925,"slug":8990,"title":7351,"dynasty":1300,"author":8991,"museum":1287,"description":8992,"tags":8993,"thumbUrl":8995,"material":1098,"size":1064,"collection":6,"collections":8996,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-wang-shi-zhen-240112","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[1060,1059,1062,1080,1178,1348,1251,1250,2768,3495,2442,1249,8994,1825],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[6],{"id":926,"slug":8998,"title":7463,"dynasty":1300,"author":8999,"museum":1075,"description":9000,"tags":9001,"thumbUrl":9002,"material":1278,"size":9003,"collection":6,"collections":9004,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lu-yu-zhou-liang-tong-shu-240057","梁同书","释文：\n大苏云：把笔无定法，要使虚而宽。欧阳文忠公谓余，当使指运而腕不知，此语最妙。方其运也，左右前后却不免欹侧，及其定也，上下如引绳，此之谓笔正。柳诚悬之语良是。次公同学兄先生。乙巳三月山舟梁同书。\n钤“梁同书印”、“梁氏元颖”朱文印2方。\n此作录文出自苏轼《东坡题跋》卷五之《记欧公论把笔》，阐述执笔用笔之法，对后世颇有影响。作品书于清乾隆五十年（1785年），时梁同书63岁。此作章法疏朗，用笔平和优雅、娴熟精湛，是梁氏中晚期行书之力作。",[1057,1058,1061,1060,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20c2d702a6159359aa63d5828a8969.jpg","纵127.5厘米，横57.8厘米",[6],{"id":927,"slug":9006,"title":9007,"dynasty":1300,"author":9008,"museum":1287,"description":9009,"tags":9010,"thumbUrl":9011,"material":1098,"size":1064,"collection":6,"collections":9012,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240045","国朝名人手简册-等17人手札","黄宗羲顾炎武","黃宗羲（1610年9月24日－1695年8月12日），浙江餘姚人，字太沖，一字德冰，號南雷，別號梨洲老人、梨洲山人、藍水漁人、魚澄洞主、雙瀑院長、古藏室史臣等，學者稱“梨洲先生”。明遺民。明末清初經學家、史學家、思想家、地理學家、天文歷算學家、教育家。“東林七君子”之一黃尊素長子。\n黃宗羲提出“天下為主，君為客”的民主思想。他説“天下之治亂，不在一姓之興亡，而在萬民之憂樂”，主張以“天下之法”取代皇帝的“一家之法”，從而限制君權，保證人民的基本權利。黃宗羲的政治主張抨擊了封建君主專制制度，有極其重要的意義，對其後反專制鬥爭起了積極的推動作用。\n黃宗羲與顧炎武、王夫之、唐甄並稱“明末清初四大啓蒙思想家”，與顧炎武、方以智、王夫之、朱舜水並稱為“明末清初五大家”，與陝西李顒、直隸容城孫奇逢並稱“海內三大鴻儒”，亦有“中國思想啓蒙之父”之譽。\n黃宗羲學問極博，思想深邃，著作宏富，一生著述多至50餘種，300多卷，其中最為重要的有《明儒學案》《宋元學案》《明夷待訪錄》《孟子師説》《葬制或問》《破邪論》《思舊錄》《易學象數論》《明文海》《行朝錄》《今水經》《大統歷推法》《四明山志》等。\n\n顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[1059,1060,1062,1248,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b38e964d38bb9c47b62937ecb85ab38.jpg",[6],{"id":928,"slug":9014,"title":7890,"dynasty":1300,"author":9015,"museum":1287,"description":9016,"tags":9017,"thumbUrl":9018,"material":1098,"size":1064,"collection":6,"collections":9019,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zi-shu-shi-zhou-du-shou-chang-240044","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[1057,1058,1061,1080,1060,1062,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[6],{"id":929,"slug":9021,"title":7463,"dynasty":1300,"author":9022,"museum":1287,"description":9023,"tags":9024,"thumbUrl":9025,"material":1064,"size":1064,"collection":6,"collections":9026,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"lu-yu-zhou-wang-su-239948","王涑","字讲泉，湖州归安（今浙江湖州）籍，寄居柘水。官广西河池州知州。一门善书，其父士锤，笔法尤高，以不入俗眼，且大耄，故求者不多。涑能书得欧、柳法，与钱塘高塏齐名，名噪大江南北，在京师最久。其堂伯即複堂殿撰，京城中以楹帖、园屏、扇、册求书者，始无虚日，恒倩涑捉刀。亦能写墨兰，意在郑思肖、赵孟坚唻臫頭樤之间。　《小蓬莱阁画鉴》、《清朝书画家笔录》",[1059,1061,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57407924affdf670842cdb08d38179dc.jpg",[6],{"id":930,"slug":9028,"title":9029,"dynasty":1300,"author":9030,"museum":1287,"description":9031,"tags":9032,"thumbUrl":9033,"material":1064,"size":1064,"collection":6,"collections":9034,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-yuan-shu-ye-liu-si-wan-239919","致元淑页","刘嗣绾","刘嗣绾 （1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）人。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。所著有《尚絅堂集》，《清史列传》行于世。",[1058,1059,1060,1079,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a40bde7f2ad343d27197e4f5caf9567.jpg",[6],{"id":931,"slug":9036,"title":9037,"dynasty":1300,"author":9038,"museum":1287,"description":9039,"tags":9040,"thumbUrl":9041,"material":1064,"size":1064,"collection":6,"collections":9042,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"dui-yue-ge-yi-pian-zeng-lian-shang-ye-wu-ci-he-239917","对月歌一篇赠莲裳页","吴慈鹤","生于清高宗乾隆四十三年，卒于宣宗道光六年，年四十九岁少随父俊宦游粤东、济南，所为诗规仿徐、庾、孟、韩，为时流所重。嘉庆十四年（1809）进士，改翰林院庶吉士。散馆，授编修。充云南乡试副考官，督学河南、山东。性好游览，使车所至，山水为缘，而发之于诗。官至翰林院侍讲。慈鹤工诗，善骈体文，与彭兆荪交最契，兆荪推挹甚至。著有《兰鲸录》、《凤巢山樵求是录》及《岑华居士外集》，《清史列传》并传于世。",[1056,1057,1058,1079,1060,1062,1059,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e274cf8e856a7e1e7cb307a42021faa.jpg",[6],{"id":932,"slug":9044,"title":9045,"dynasty":1300,"author":9046,"museum":1287,"description":9047,"tags":9048,"thumbUrl":9049,"material":1064,"size":1064,"collection":6,"collections":9050,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tai-cheng-lu-yi-que-feng-lian-shang-ye-sun-yan-239915","台城路一阕奉莲裳页","孙延","工诗词、篆、隶，善写生墨梅，惜未竞其技而殁。事迹见于《墨林今话》、《畊砚田斋笔记》等。",[1300,1057,1058,1079,1080,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce4b33d92269f6bc6a30541aeea2ab.jpg",[6],{"id":933,"slug":9052,"title":9053,"dynasty":1300,"author":9054,"museum":1287,"description":9055,"tags":9056,"thumbUrl":9057,"material":1064,"size":1064,"collection":6,"collections":9058,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[1059,1058,1079,1060,1062,1080,2236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[6],{"id":934,"slug":9060,"title":7351,"dynasty":1300,"author":9061,"museum":1287,"description":9062,"tags":9063,"thumbUrl":9064,"material":1064,"size":1064,"collection":6,"collections":9065,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[1057,1058,1059,1079,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[6],{"id":935,"slug":9067,"title":8750,"dynasty":1300,"author":2361,"museum":1287,"description":9068,"tags":9069,"thumbUrl":9070,"material":1064,"size":1064,"collection":6,"collections":9071,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"bao-jin-shi-feng-gong-fu-ye-yi-ming-239835","此作为两开尺牍小品，左开以暗纹绿笺作书，小行书清劲秀雅，行气舒展匀停，墨色在华笺上愈发莹润秀逸；右开以浅黄麻纸落墨，用笔苍朴内敛，字势错落随性，带着手札特有的松弛意趣。\n\n二者皆为日常酬唱的信札书迹，笔墨间藏着旧时文人的风雅交游，冲淡疏逸的书卷气浸透纸背，将尺素传情的知己酬答，凝为纸上耐人寻味的悠长余韵。",[1059,1060,1062,1079,1058,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd6ae6bb0cfd6992c3c19382096607c.jpg",[6],{"id":936,"slug":9073,"title":8742,"dynasty":1300,"author":9074,"museum":1287,"description":9075,"tags":9076,"thumbUrl":9077,"material":1064,"size":1064,"collection":6,"collections":9078,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"ti-zi-ye-wu-yi-feng-239811","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[1058,1059,1060,1079,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[6],{"id":937,"slug":9080,"title":7351,"dynasty":1173,"author":9081,"museum":1287,"description":9082,"tags":9083,"thumbUrl":9084,"material":1064,"size":1064,"collection":6,"collections":9085,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-ye-du-qi-239804","杜启","杜启是进士。弘治三年，授长垣知县。治河有功，筑太行长堤，增坝堰铺舍，暇与诸生讲授易学，人士皆宗之。擢监察御史。",[1058,1059,1060,1079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955a4f1f638f81f59042c23be8e8113b.jpg",[6],{"id":938,"slug":9087,"title":9088,"dynasty":1050,"author":9089,"museum":1287,"description":9090,"tags":9091,"thumbUrl":9092,"material":1064,"size":1064,"collection":6,"collections":9093,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"de-zhi-ti-wu-xi-tu-shi-de-zhi-239675","德止题浯溪图诗","德止","此作为尚意书风的典型写照，用笔灵动跳脱。笔画粗细跌宕间，牵丝映带自然圆融，字势欹侧相生，通篇行气贯通，流转着萧散出尘的禅意。\n\n章法疏朗错落，墨色干湿浓淡交织变幻，起收笔尽显随性洒脱，将禅家冲淡襟怀融于笔墨。每一字舒展自在，既带着行书流美的韵律感，又裹挟着林下清逸的禅味，尽显文人禅僧的简淡心境，是宋代禅意书法的上乘佳构。",[1732,1059,1060,5819,3560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def52d025d9d08a1b13db3467b5f51e.jpg",[6],{"id":939,"slug":9095,"title":9096,"dynasty":1073,"author":6215,"museum":1075,"description":9097,"tags":9098,"thumbUrl":9099,"material":1098,"size":9100,"collection":6,"collections":9101,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"bai-yun-fa-shi-tie-ye-yu-ji-239625","白云法师帖页","释文：\n集顿首奉记。白云法师和上乡契，去年过访，足仞至情。别后极深怀系。大墓甚感用情，亲戚同不知首尾，不知归附心来，又六十余年，先参政之所经理遣意，老者今秋遣女后方可出。秋深要来，能来为妙。竹深旧相识，如来说可奉承。兹因俞伯康山长还吴，略得布此。秋冬间能来住一两月，同出亦好也。大墓事已开嘱丹阳以先世委用之意，必蒙相体。此行亦修路，侯一书讬伯康言之凡可。幸熟议勿停恩勿误事，则区区不肖之望也。植舟及小儿偶出，不及致问。溪山在斋，教两小儿如常也。伯婉受助后，月日未到未上，已尽达雅意矣。道人处传语诸亲知都为寄声为妙。眼昏写字不多整齐，勿罪。比相见好不及。虞集上记。\n鉴藏印有项元汴诸印，“董奕少氏”、“李肇亨”、“桃花源里人家”及安岐、完颜景贤、何子彰、赵叔彦、张爰、谭敬诸印28方，半印2方。\n文中自称“眼昏写字不多整齐”。虞氏晚年有目疾，并经常在信札中谈到，故此帖为其晚年之作。书法行笔环萦，字若连绵，法度险峭，劲健古雅。如王世贞所言：“用笔若草草，而中自遒劲。”\n《墨缘汇观·法书卷》、《三虞堂书画目》著录。",[1059,1060,1111,2011,1062,4506,1098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[6],{"id":940,"slug":9103,"title":9104,"dynasty":1173,"author":9105,"museum":1075,"description":9106,"tags":9107,"thumbUrl":9108,"material":1098,"size":1064,"collection":6,"collections":9109,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"cun-ji-tie-ce-ye-xia-shi-zheng-239591","存记帖册页","夏时正","夏时正(1412—1499)，字季爵，晚号留余道人，慈溪汶溪（今属镇海区）人。少随父居仁和（今杭州）。明正统十年(1445)中进士，授刑部主事，后升刑部郎中。景泰六年(1455)复查福建刑事案卷，平反死狱60余人，擢南京大理卿。成化七年(1471)巡视江西灾情，免除无名税10余万石，放粮赈济灾民23万户，汰诸司冗役数万名，罢不称职官吏200余名，增筑南昌章江门滨江堤坝和丰城诸县堤岸。后乞归杭州，贫甚，布政使张瓒为他筑西湖书院以居。卒葬杭州三峰山。纂有成化《杭州府志》、《太平志》，著有《留余稿》等。",[1059,1079,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fb875efcbf86277345ec51f5e2e359.jpg",[6],{"id":941,"slug":9111,"title":9112,"dynasty":1173,"author":9113,"museum":1075,"description":9114,"tags":9115,"thumbUrl":9116,"material":1098,"size":1064,"collection":6,"collections":9117,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jiao-yan-tie-ce-ye-wang-hong-239585","教言帖册页","王竑","王竑（1413年—1488年），字公度，号休庵、戅庵。湖北江夏（今属武汉市）人，生于河州（今甘肃临夏）。明朝名臣。\n王竑为正统四年（1439年）进士，授户部给事中，豪迈负气节，正色敢言。土木之变后奋臂率众击毙王振党羽、锦衣指挥马顺，名震天下。也先入犯，受命受御京城，擢右佥都御史，寻督漕运，再抚淮、扬。明宪宗初年，官至兵部尚书。致仕后居家二十年。\n弘治元年（1488年），王竑去世，年七十五。明武宗时追赠太子少保，谥号“庄毅”。",[1173,1059,1060,1079,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff26d78a700838e78b4642a6149eaf.jpg",[6],{"id":942,"slug":9119,"title":6662,"dynasty":1300,"author":6663,"museum":1287,"description":6664,"tags":9120,"thumbUrl":9121,"material":1064,"size":1064,"collection":6,"collections":9122,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hui-shi-ce-hu-zhen-kai-239227",[1057,1058,1079,1080,1305,1059,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b976ee66ebc5e06444d91355b720dc.jpg",[6],{"id":943,"slug":9124,"title":4843,"dynasty":1300,"author":4844,"museum":1287,"description":9125,"tags":9126,"thumbUrl":9129,"material":1064,"size":1064,"collection":1309,"collections":9130,"showCount":1129,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"hua-niao-guo-ce-li-qi-236713","此作为水墨牡丹，以淡墨晕染花瓣，轻勾轮廓将牡丹舒展柔美的姿态尽显，不见艳色却暗蕴雍容之态。挺秀的花枝搭配皴擦细致的叶片，墨色浓淡错落，层次分明，将叶片舒展的质感生动呈现。\n\n右侧行书题款与画作相映成趣，诗画交融，文气雅致清逸。整体以极简笔墨营造出冲淡脱俗的意趣，未刻意描摹富贵之态，转而将文人雅致藏入清寂水墨之中，尽显小品写意花鸟以少胜多的韵味，寄托着创作者淡泊出尘的审美追求。",[1057,1058,1079,1080,2235,1794,9127,9128],"叶","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74705150e4cbecf2e914a3f9df14eed1.jpg",[1309,1189,6],{"id":944,"slug":9132,"title":9133,"dynasty":1173,"author":2361,"museum":1287,"description":9134,"tags":9135,"thumbUrl":9136,"material":2669,"size":2815,"collection":6,"collections":9137,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"wan-xiang-tang-su-shu-tie-yi-ming-242277","晚香堂苏书帖","此帖用笔温润秀劲，提按转合间尽显潇洒韵致，笔意圆活舒展，毫无板滞之感。结体疏密得宜，字形欹正相生，既有端稳沉静之态，又不失灵动跳脱之姿。乌金沉底配莹润墨色，愈发衬出字里行间的从容雅致。\n\n以《凌虚台记》为书文，笔墨与文辞相得益彰，将文中寄寓的山水襟怀，化作笔底流转的风神，观之仿若亲临终南山麓，凌虚凭眺，山水悠然之境跃然眼底，尽显文人书法的清雅意趣，是颇具东坡神韵的刻帖佳制。",[1059,1060,1093,1290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9efe2d1d58861d109378fea9e789a25.jpg",[6],{"id":945,"slug":9139,"title":9140,"dynasty":1173,"author":2361,"museum":1287,"description":9141,"tags":9142,"thumbUrl":9143,"material":1064,"size":1064,"collection":6,"collections":9144,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"bao-xian-tang-fa-tie-yi-ming-242219","宝贤堂法帖","此帖荟萃晋人手札，黑底白墨古雅沉静，尽显刻帖精妙质感。右侧书作笔意圆融灵动，点画顾盼生姿，将尺牍的随性自在铺陈开来，晋人散逸潇洒的风神跃然楮墨。左侧字迹纵逸奔放，牵丝映带间尽显挥毫时的畅快意气，笔墨藏着晋韵风流的审美底色。\n\n摹刻精良，忠实留存晋人行草的章法笔意，将两通信札的日常意趣与书法精妙合二为一，虽是刻本却毫发尽显笔底情致，可让观者遥想当年挥毫的自在情态，体味古法帖隽永的笔墨魅力。",[1290,1059,1060,1148,1062,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d36d092de5a51de88c73a35db58586.jpg",[6],{"id":946,"slug":9146,"title":9147,"dynasty":1173,"author":1935,"museum":1287,"description":5960,"tags":9148,"thumbUrl":9149,"material":1098,"size":1064,"collection":6,"collections":9150,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":110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康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[1060,1059,1062,2935,1251,4184,3539,1593,3495,1767,2769,3258,5147,1825,1772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","64.5×32.1cm",[6],{"id":957,"slug":9233,"title":5700,"dynasty":1300,"author":9234,"museum":1122,"description":9235,"tags":9236,"thumbUrl":9237,"material":9238,"size":9239,"collection":6,"collections":9240,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-shi-run-zhang-241084","施闰章","施闰章（1619年—1683年），字尚白，一字屺云，号愚山，媲萝居士、蠖斋，晚号矩斋，后人称施侍读、施佛子。江南宣城（今安徽省宣城市宣州区）人。 清初政治家、文学家。\n施闰章于清顺治六年（1649年）进士及第，授刑部主事。顺治十三年（1656年）出任山东学政。顺治十八年（1661年），出任江西布政司参议，后裁缺归田。康熙十八年（1679年），应召博学鸿词科，御试授翰林侍讲，修《明史》。康熙二十二年（1683年），升转翰林院侍读，充太宗圣训纂修官。同年病逝于京斋，享年六十六岁。\n施闰章博览经史，工诗词古文学。 其文意朴而气静。 其诗以辞清句丽见长， 号“宣城体”，与高咏主持东南诗坛数十年。并与宋琬齐名，有“南施北宋”之誉。 [5] 著有《双溪诗文集》《愚山诗文集》等十余种。",[1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e3059086a576c9927d6b7a21f5ab5f.jpg","纸本草书","180.1×43cm",[6],{"id":958,"slug":9242,"title":7165,"dynasty":1173,"author":9243,"museum":1287,"description":9244,"tags":9245,"thumbUrl":9246,"material":1098,"size":9247,"collection":6,"collections":9248,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-jue-shi-zhou-kuang-lu-241055","邝露","邝露（1604-1650）字湛若，号海雪，南海大沥人。明末广东著名诗人；出生于书香世家，少年好学，五岁能诗，以才能卓异闻名于乡里。青年时曾在罗浮山明福洞苦读，邝露工于诗词，精于骈文；又是篆、隶、行、草、楷各体兼擅的有成就的书法家，其草书字迹劲秀，师法王羲之而自成一格。还通晓兵法、骑马、击剑、射箭，又是古文物鉴赏家和收藏家，还擅长古琴，是一位品格极高的琴人。其收藏的唐琴“绿绮台”为岭南“四大名琴”之一，在琴界有极高声誉。他负才不羁，行歌市上，旁若无人，对传统礼法傲然不屑，多次应试也因“违制”而落第。南明唐王时任中书舍人，永历帝时出使广州，顺治七年清兵攻广州，邝露与诸将戮力死守，凡十余月，城陷，不食，抱琴而死，从容殉国，年仅47岁。\n邝露气质浪漫，最能表现其个性的当为草书。其草法奔放，酣畅自然，略近祝枝山，而上追黄庭坚，既任情恣肆而又矩度精严，能放能收，深得书法之要。邝露书法能有很高的成就，源于他多方面的文艺修养。",[1059,1148,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ea342f7ae92c8d83957ed6529d8e3b.jpg","93×36cm",[6],{"id":959,"slug":9250,"title":9251,"dynasty":1173,"author":2361,"museum":1287,"description":9252,"tags":9253,"thumbUrl":9254,"material":1098,"size":1064,"collection":6,"collections":9255,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[1055,2173,1059,1110,1060,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[6],{"id":960,"slug":9257,"title":7784,"dynasty":1173,"author":9258,"museum":1075,"description":9259,"tags":9260,"thumbUrl":9265,"material":5792,"size":9266,"collection":6,"collections":9267,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-wu-lv-shi-zhou-liu-zheng-zong-240850","刘正宗","此轴书五言诗一首。点划方圆兼济，书风峻峭挺拔，与倪元璐、黄道周、王铎诸家书风一脉相传。\u2028 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，字绣子，又字贞甫，号著花居士，广东嘉应州东街堡攀桂坊（今梅江区较场背旺巷口）人。自幼和兄弟李嗣章一同在东邨草堂读书，成绩优异，有“两陆”（陆机、陆云）、“二苏”（苏轼、苏辙）的美称。嘉庆十年(1805）乙丑科中进士（殿试金榜二甲第85名），选翰林院庶吉士。曾任江苏昭文县知县、东莞宝安书院山长等职，道光十二年（1832），在宝安逝世。《清史稿·儒林传》、《嘉应州志》、《清代学者像传》（叶恭绰编撰），都有他的专传。",[1058,1060,1079,1733,1160,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152ee5d89fbe7f3e29a4ee0fcfceeccf.jpg",[6],{"id":979,"slug":9409,"title":9410,"dynasty":1300,"author":9054,"museum":1287,"description":9055,"tags":9411,"thumbUrl":9412,"material":1064,"size":1064,"collection":6,"collections":9413,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-feng-gong-fu-ye-dong-guo-hua-239844","诗奉功甫页",[1300,1059,1060,1062,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff458a0a9afdc9f4d7a6f7ace353e6f0c.jpg",[6],{"id":980,"slug":9415,"title":9416,"dynasty":1300,"author":9054,"museum":1287,"description":9055,"tags":9417,"thumbUrl":9418,"material":1064,"size":1064,"collection":6,"collections":9419,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qiu-qing-zuo-feng-gong-fu-ye-dong-guo-hua-239839","秋晴作奉功甫页",[1059,1060,1079,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefafc3dd6eb15849f30edb02d9c914f.jpg",[6],{"id":981,"slug":9421,"title":9422,"dynasty":1173,"author":1601,"museum":1075,"description":5310,"tags":9423,"thumbUrl":9424,"material":1064,"size":1064,"collection":6,"collections":9425,"showCount":1223,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题",[1055,1059,1058,1110,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263f9a302ecb8222f9c62a850d907960.jpg",[6],{"id":982,"slug":9427,"title":6847,"dynasty":1300,"author":9428,"museum":1287,"description":9429,"tags":9430,"thumbUrl":9436,"material":1098,"size":1064,"collection":6,"collections":9437,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-shi-zhou-liang-qing-biao-241522","梁清标","梁清標 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编撰有《蕉林书目》，今已不存。",[1058,1059,1061,1060,1062,9431,2934,3496,9432,9433,9434,9435],"凤","春云","禁闱","青旛","旧陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef72602a708642060277865fed032c01.jpg",[6],{"id":983,"slug":9439,"title":5891,"dynasty":1300,"author":9440,"museum":1287,"description":9441,"tags":9442,"thumbUrl":9443,"material":1098,"size":1064,"collection":6,"collections":9444,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-jue-zhou-dong-xiao-chu-241376","董孝初","华亭（今上海市松江）人。诸生。久不得志，遂弃去，放浪山水间。中年作画具元人法。",[1059,1061,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3967071b314b1ed992b4bb7c5318a6.jpg",[6],{"id":984,"slug":9446,"title":6713,"dynasty":1300,"author":9447,"museum":1287,"description":9448,"tags":9449,"thumbUrl":9455,"material":1098,"size":1064,"collection":6,"collections":9456,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"qi-lv-zhou-chen-qian-he-241318","陈迁鹤","清福建龙岩人，字声士，一字介石，康熙二十四年进士。由庶吉士授编修。历官至左春坊左庶子，入值南书房。通经学，不墨守成说。认为太极为生成之理，在阴阳动静之中。治《易》采诸说而折衷于程朱，以卦意推爻辞。著有《易说》、《尚书私记》、《毛诗国风绎》、《春秋纪疑》等",[1061,1059,1060,9450,9451,1348,1350,9452,1179,9453,9454],"七律","春风","宫廷","烟霭","舞乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd536cb9582510f74c3f4e4e26746a269.jpg",[6],{"id":985,"slug":9458,"title":9459,"dynasty":1300,"author":9460,"museum":1287,"description":9461,"tags":9462,"thumbUrl":9463,"material":1098,"size":1064,"collection":6,"collections":9464,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1777},"ti-hua-zhou-zhang-mei-ru-241255","题画轴","张美如","张美如，字尊五，号玉溪，又号第五山樵，甘肃武威人。嘉庆十二年（1807）赴西安考中举人，次年赴北京考中进士，选翰林院庶吉士。嘉庆十四年（1809）散馆，改授户部主事。道光二年（1822）升任 于是，退离仕途，求居林下，以绘画写字，吟诗抚琴，奖掖后进为乐，把自己的一生献给培育英才的教育事业。根据他的诗稿及有关信札，可知他曾主讲凉州天梯书院、镇番（今民勤县）苏山书院、兰州兰山书院、西安关中书院等处。张美如不但是一位教育家，而且是清代著名书画家，堪称诗、书、画三绝。",[1579,1058,1059,1060,1061,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c69515619fdbc62a3981ba74719b9b.jpg",[6],{"id":986,"slug":9466,"title":9467,"dynasty":1173,"author":8513,"museum":1287,"description":8514,"tags":9468,"thumbUrl":9469,"material":1098,"size":1064,"collection":6,"collections":9470,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-ting-xian-zha-ma-yu-241105","致廷献札",[1058,1059,1060,1062,2173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c3b6efa4603dcee6edf18b982ce249.jpg",[6],{"id":987,"slug":9472,"title":9473,"dynasty":1173,"author":9474,"museum":1287,"description":9475,"tags":9476,"thumbUrl":9477,"material":1098,"size":1064,"collection":6,"collections":9478,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-han-zha-wen-peng-241017","诗翰扎","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。",[1059,1060,1733,2173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556c922d18d51b884d221081d8c344f2.jpg",[6],{"id":988,"slug":9480,"title":9481,"dynasty":1173,"author":7166,"museum":1287,"description":9482,"tags":9483,"thumbUrl":9484,"material":1098,"size":1064,"collection":6,"collections":9485,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[1055,1060,1059,1110,1080,1098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[6],{"id":989,"slug":9487,"title":9488,"dynasty":1300,"author":9489,"museum":1052,"description":9490,"tags":9491,"thumbUrl":9492,"material":1064,"size":1064,"collection":6,"collections":9493,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"xing-huang-ting-jing-ji-shi-he-ce-cheng-yao-tian-240912","行黄庭经及诗合册","程瑶田","程瑶田（1725～1814）清代著名学者、徽派朴学代表人物之一。字易田，一字易畴，号让堂，安徽歙县人。与戴震同师事事江永。精通训诂，提倡“用实物以整理史料”，开启了传统史料学同博物考古相结合的研究路径。在数学、天文、地理、生物、农业种植、水利、兵器、农器、文字、音韵等领域，程皆有深入研究，堪称一代通儒。著有《通艺录》《释虫小记》《释草小记》等。\n程瑶田“自少迄老，笃志著述。其学长于涵咏经文，得其真解，不屑依傍传注”（支伟成《清代朴学大师列传》）。其著述长于旁搜曲证，多方详考，考证名物和典章制度大都精当，富有认真不苟、求真求是、敢于挑战权威的批判精神。所撰《禹贡三江考》，谓《禹贡》扬州的“三江”，实只一江，以订正郦道元《水经注》；《仪礼丧服文足徽记》，规正郑玄注《礼》的失误。其学术非止名物一端，在文字训诂方面造诣亦深，研究“转语”多有发明，对于纠正传注的误失，亦有很多创获。于天文历算方面“既明其义，又穷其用，而神明变化，举措咸宜”（阮元《俦人传》）。\n其治学受其师江永学宗汉宋的影响，虽重考证而不废义理。在研究成果中体现义理、考据、辞章三者并重的特点，成为徽派朴学大师中非常有代表性的一位。《清史稿》载：“东原戴氏自谓尚逊其精密。”\n工于诗，刘大櫆称其诗“五言得力渊明，最为高妙；七言从古乐府 求；律诗取迳宋人；绝句逼真江西宗派，尤近涪翁矣”。史震林评其诗“清高绝俗。云林树、米家山，可比仙”。",[1060,1079,1059,1112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c52d758f85af206b65d99fbfd50375.jpg",[6],{"id":990,"slug":9495,"title":6026,"dynasty":1300,"author":9496,"museum":1287,"description":9497,"tags":9498,"thumbUrl":9499,"material":2669,"size":2815,"collection":6,"collections":9500,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shu-zha-ce-zhang-bai-xi-240734","张百熙","张百熙（1847—1907年），字埜秋，一作冶秋，号潜斋，湖南长沙人。清末大臣，著名教育家。同治十三年（1874年）进士，授编修。光緖七年（1881年），督山东学政。十四年（1888年），典试四川。十五年，命直南书房。二十一年，迁侍读学士。二十三年，督广东学政，迁内阁学士。戊戌政变后，因荐举康有为获罪，革职留任。二十六年，任礼部侍郞，擢左都御史。后又历任工部、刑部、吏部、户部、邮传部尙书。并曾充管学大臣，主持京师大学堂，创医学及译学馆、实业馆，选派留学生出国深造。\n三十三年（1907年）卒，赠太子少保，谥文达。",[1059,1058,1079,1060,1098,1733,1300,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282f58591b0159d999ae574010910307.jpg",[6],{"id":991,"slug":9502,"title":6986,"dynasty":1300,"author":9503,"museum":1287,"description":9504,"tags":9505,"thumbUrl":9506,"material":9507,"size":9508,"collection":6,"collections":9509,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[1055,1058,1059,1110,1060,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","水墨绫本","27.5×197cm",[6],{"id":992,"slug":9511,"title":6986,"dynasty":1300,"author":9512,"museum":1075,"description":9513,"tags":9514,"thumbUrl":9518,"material":5792,"size":9519,"collection":6,"collections":9520,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[1055,1059,1110,1060,1080,1062,9515,9516,4244,1250,5634,1794,2932,2935,2769,2860,2859,9517,1183,1792,1556,3924,1425,1350,1555,1178,2236,1304,1362,2050],"江南","芳草","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","纵450厘米，横33.3厘米",[6],{"id":993,"slug":9522,"title":5700,"dynasty":1173,"author":8466,"museum":1075,"description":9523,"tags":9524,"thumbUrl":9525,"material":9526,"size":9527,"collection":6,"collections":9528,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-ye-xiang-gao-240701","释文：乍违紫禁不胜情，又向江干别绪萦。明月片帆扬子渡，乱风尊酒广陵城。沙汀旅雁寒初下，水寺疏钟晚自鸣。惆怅临歧还问字，愧无玄草答诸生。\n渡江吕公原同诸友来送赋别。台山高。",[1059,1061,1148,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08cbcf4e68bded14f7b77dc6b072a754.jpg","绫本草书","199.5×51cm",[6],{"id":994,"slug":9530,"title":5700,"dynasty":1300,"author":9531,"museum":1287,"description":9532,"tags":9533,"thumbUrl":9540,"material":1098,"size":1064,"collection":6,"collections":9541,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-zhang-zhi-xi-240623","张志禧","此作用草书挥写而就，笔墨酣畅淋漓，线条苍劲老辣，裹挟着疏宕不羁的雄浑气势。字间牵丝映带，错落排布，行气连贯自如，欹正相生之间尽显灵动章法。墨色枯湿浓淡富于层次变化，枯笔如锥画沙，力透纸背，尽显骨力劲挺；浓墨沉凝厚重，落笔扎实沉稳。通篇以笔为引，将诗书情志寄寓在笔墨流转之中，每一处提按顿挫都饱含书写时的情绪起伏，尽显草书抒情达意的妙境，尽显文人写意抒怀的潇洒意趣。",[1148,1061,1062,9534,9535,9536,9537,9538,9539],"笔墨淋漓","行笔流畅","连绵笔法","清代书法风格","墨色浓淡变化","章法布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5cc7459baa29d8f3a4cde870575ec87.jpg",[6],{"id":995,"slug":9543,"title":9544,"dynasty":1300,"author":9545,"museum":1287,"description":9546,"tags":9547,"thumbUrl":9548,"material":1098,"size":1064,"collection":6,"collections":9549,"showCount":1201,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"li-yong-ji-you-wen-zhou-li-yong-240587","李颙祭友文轴","李颙","李颙（1627年3月12日——1705年5月7日） 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历迁侍讲，告归。象瑛著有《健松斋诗文集》三十四卷，《封长白山记》一卷，《松窗笔乘》三十卷，（均清史列传）并行于世。",[1059,1060,4506,2013,1098,2173,5819,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71424a0f93ff353445747b79ebe0f80.jpg",[6],{"id":1025,"slug":9770,"title":9763,"dynasty":1173,"author":9771,"museum":1287,"description":9772,"tags":9773,"thumbUrl":9774,"material":1098,"size":1064,"collection":6,"collections":9775,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"qi-lv-ye-mao-ji-ke-241527","毛际可","毛际可（1633年－1708年），字会侯，号鹤舫，晚号松皋老人。遂安（今属浙江）人，清代文学家。",[1058,1059,1060,1062,1098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1816756b2fa52194de0ec735a9f416.jpg",[6],{"id":1026,"slug":9777,"title":9778,"dynasty":1300,"author":9779,"museum":1287,"description":9780,"tags":9781,"thumbUrl":9782,"material":1098,"size":1064,"collection":6,"collections":9783,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[1058,1059,1061,1060,1062,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[6],{"id":1027,"slug":9785,"title":9786,"dynasty":1173,"author":9387,"museum":1287,"description":9388,"tags":9787,"thumbUrl":9788,"material":1098,"size":1064,"collection":6,"collections":9789,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"tao-yan-zhi-juan-pian-tao-yan-241000","陶琰致卷片",[1055,1059,1060,1110,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94301e67249c331fbb503d062233b6cc.jpg",[6],{"id":1028,"slug":9791,"title":9792,"dynasty":1173,"author":9793,"museum":1075,"description":9794,"tags":9795,"thumbUrl":9796,"material":1098,"size":1064,"collection":6,"collections":9797,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[1055,1059,1110,1060,1080,1062,1178,1555,6675,1349,1183,1425,1350,2236,1304,1362,2050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[6],{"id":1029,"slug":9799,"title":5700,"dynasty":1300,"author":9800,"museum":1287,"description":9801,"tags":9802,"thumbUrl":9803,"material":1098,"size":1064,"collection":6,"collections":9804,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"shi-zhou-feng-gui-fen-240645","冯桂芬","冯桂芬（1809～1874）晚清思想家、散文家。字林一，号景亭，吴县（今江苏苏州）人，曾师从林则徐。道光二十年进士，授编修，咸丰初在籍办团练，同治初，入李鸿章幕府。少工骈文，中年后肆力古文，尤重经世致用之学。在上海设广方言馆，培养西学人才。先后主讲金陵、上海、苏州诸书院。冯桂芬为改良主义之先驱人物，最早表达了洋务运动“中体西用”的指导思想。著有《校邠庐抗议》《说文解字段注考证》《显志堂诗文集》。\n冯桂芬之思想，上接林、魏，下启康、梁，其意义不单单只是“求西学、思变法”的一脉相承，而在于其率先提出了消解现代化过程中的中西、古今矛盾的方法，即“惟善是从”。冯桂芬“惟善是从”的思想根基于中国文化中的见贤思齐、刚健有为的传统，是从中国文化本土生长出来的、可以导致中国文化与时俱进的极其宝贵的思想，也是中国文化具有强大生命力的生动体现。\n冯桂芬在第二次鸦片战争时期，更加全面地论述了向西方学习问题。他继承了林则徐、魏源的传统，肯定了“师夷长技以制夷”的口号，主张学习西方的军事工业。不过，军事工业只是他学习的一个方面了。冯桂芬指出“此外，如算学、重学、视学、光学、化学，皆得格物致理。舆地书备山川厄塞风土物产，多中人所不及。”看到了“农具、织具百工所需，多用机轮，用力少而成功多，是可资以治生。”明确提出在农、工业生产中采用机器的主张。究竟夷之长技有哪些？冯桂芬的认识较魏源有较大的进步。他总结出中国五不如夷。除了认识到船坚炮利不如夷外，还认识到“人无弃才不如夷，地无遗利不如夷，君民不隔不如夷，名实必符不如夷”这里冯桂芬除了在技术方面外，还提出了“君民不隔”问题，这是很可贵的。冯桂芬提出了“自强攘夷”的主张，他把其主张概括为“以中国之名教伦常为原本，辅之以诸国富强之术。”\n冯桂芬非常强调中国自己掌握新式技术。他用了一段很精彩的话：“或曰，购船雇人何如？曰，不可。能造，能修，能用，则我之利器。不能造，不能修，不能用，则仍人之利器也。利器在人手，以之转漕，而一日可令我饥饿；以之运盐，而一日可令我食淡；以之涉江海，而一日可令我复溺┅┅借兵雇船皆暂也，非常也。目前固无隙，固可暂也。日后岂能必无隙，固不可常也。终以自造、自修、自用之为无弊也。”这里包含着发展中国家在向发达国家学习中必须自己掌握经济命脉，才能确保独立的思想。这个思想，对于今天第三世界诸国在同发达国家打交道有借鉴意义。\n冯桂芬对清朝的腐败统治有所不满，建议改革时政。他重视西方经世致用之学问，主张采用西学、制造洋器，他以中国的伦常名教为本，辅以外洋诸国富强新术。他的思想理论对洋务派有很大影响，同时也被资产阶级改良派奉为先导。\n冯桂芬去世以后，他的治国理论，如：裁减冗员、精制规则、停捐输、变科举、广取士、废武科、采用西学、制造洋器等等评议，全都被朝廷甄别、采纳，大部分得以施行。即使到光绪年间大搞变法，也是要变法而没能背离他的统治之道。",[1058,1059,1060,1061,1080,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a13835864f8df2e408b9095f7d26b52.jpg",[6],{"id":1030,"slug":9806,"title":5700,"dynasty":1300,"author":9807,"museum":1287,"description":9808,"tags":9809,"thumbUrl":9810,"material":1098,"size":1064,"collection":6,"collections":9811,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1069},"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 倍受皇恩礼遇，陆肯堂遂又留京供职。康熙三十五年（1696）卒于宫。",[1300,1059,1061,1060,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef855ddf6b8e05b343525e4beb3b9c5.jpg",[6],{"id":1031,"slug":9813,"title":9814,"dynasty":1300,"author":9815,"museum":1287,"description":9816,"tags":9817,"thumbUrl":9818,"material":1098,"size":1064,"collection":6,"collections":9819,"showCount":1385,"zanCount":1068,"manualWeight":1068,"mainColor":1103},"pu-xiao-chuan-juan-zhang-yun-zhang-240509","溥孝传卷","张云章","张云章，生于顺治五年（1648），卒于清雍正四年（1726），太学生。尝从 游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 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