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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》。",[23,26,52,25,7],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6065f63d3f1660ddad46fd831cad70.jpg","纸本,拓本","195x122","书法精选",[56],63,{"id":60,"slug":61,"title":62,"dynasty":63,"author":64,"museum":20,"description":65,"tags":66,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":32},226538,"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","隋","佚名","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[67,25,26,68,69,7],"高清","人物","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","拓片","64.36*116.38厘米","碑帖精选",[73],53,{"id":77,"slug":78,"title":79,"dynasty":80,"author":64,"museum":20,"description":81,"tags":82,"thumbUrl":10,"material":54,"size":84,"collection":28,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":32},214205,"cuan-bao-zi-bei-yi-ming-214205","爨宝子碑","晋","这块碑文包含了关于墓主爨宝子的生平和对他的讴歌的信息。该碑字体属于隶书向楷书过渡的书体。",[67,83,25,26,24,7],"晋代","190x71",[],45,{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":91,"description":92,"tags":93,"thumbUrl":95,"material":28,"size":96,"collection":28,"collections":97,"showCount":98,"zanCount":31,"manualWeight":11,"mainColor":44},232598,"duo-bao-ta-gan-ying-bei-yuan-ke-yan-zhen-qing-232598","多宝塔感应碑 原刻","西安碑林博物馆","《多宝塔碑》全称为《大唐西京千福寺多宝佛塔感应碑》，是唐天宝十一年（752年）由当时的文人岑勋撰文、书法家徐浩题额、书法家颜真卿书丹、碑刻家史华刻石而成，是楷书书法作品。现今保存于西安碑林第二室。\n此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。\n唐朝天宝年间，楚金禅师夜诵《法华经》时，仿佛有多宝佛塔呈现眼前，他想把幻觉中的多宝佛塔变为现实，誓志筹建。在修造期间，甚至出现了种种灵应和神奇的事情。这份诚意感动了唐玄宗，于是赏赐钱帛，并亲题塔额。经过4年的努力，多宝佛塔终于在天宝十一年（752年）建成。\n而时任武部员外郎、44岁的颜真卿被选中来书写碑文。颜真卿和当时的大多数知识分子一样是正统的儒家，但也信奉佛教，他的书法风格直接“二王”、欧、虞、褚余风，而又与唐人写经有明显的相似之处。碑文的作者岑勋，是诗人岑参的从弟；题写碑额的徐浩，年长颜真卿6岁，是当时的书法名家，也是张旭的学生，这是他俩第一次合作书碑；史华则是当时的刻碑高手。\n该碑用笔多中锋，起笔和收笔有明显的顿按。起笔藏锋为主，兼用露锋，方圆并用。有些横画起笔较为外露，不同于柳体的齐头方脚，而是稍存斜尖，并参以含蓄的笔意使之变化丰富；收笔用顿笔和回锋的较多，强调“护尾”，尤其于横画中最为明显，写横行至收笔处，常向右下方重按，顿笔回锋，体现出颜体的雄浑、大气之韵，竖画粗壮，浑厚力强。横、竖笔画粗细对比鲜明，富节奏、韵律美感，也把颜体的一个“筋”的意味完整地表达出来。\n颜体撇画较轻盈挺健，捺画却粗壮有力，有“蚕头燕尾”之称，给人以刚健的动感，尤其是捺脚较长，顿挫后踢出开衩，含蓄而又有峻利之感。另外，颜体捺画的捺脚多与撇画锋尖持平或稍低，不似柳体的撇低捺高，而呈现出一种舒展沉稳之美。《多宝塔碑》转折变化较多，主要有提耸肩顿挫和按笔削肩暗转之法，有方有圆，方圆兼施。该碑具有唐楷“尚法”的典型特征，结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，已初显颜体成熟期正面示人、雄浑豪迈的书风。\n《多宝塔碑》整篇结构严密，字行间有乌丝栏界格，其结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，布势均匀，四周撑满，故气势雄伟，这是“颜体”佛书的又一特色。颜真卿的结体，用的是“外拓”笔法，字势方正，撇捺竭力向左右拓展，气势博大恢弘。无论独体字，还是合体字，都以中心轴线为重心，在结构处理上，既讲究规矩，又生动活泼。在楷书史上还没有一个人有过这样的结体方式，尤其是捺脚，重拙而不作波曳之状，线条涩重雄强，气概非凡。\n《多宝塔碑》的章法之美：整幅作品纵横整齐。从纵看，字的中心在中轴线上；字的大小配合得当。整体雄伟恢弘，实也秀媚多姿。\n明代学者孙鑛《书画跋》：“此是鲁公最匀稳书，亦尽秀媚多姿，第微带俗，正是近世掾史家鼻祖。”\n明代戏曲理论家何良俊《四友斋书论》：“正所谓世下最传者，盖鲁公书妙在险劲，而此书太整齐，失之板耳。”\n现代书法家欧阳中石：“它是颜碑中最讲用笔，法度最为细密严谨的一部。”\n陕西师范大学历史文化学院教授张懋镕：“整篇结构严密，点画圆整，端庄而不呆板。”\n《多宝塔碑》蕴含了“二王”和初唐以来书家的风流，历来为书家珍重。它是唐代“尚法”的代表碑刻之一，学颜体者多从此碑下手，入其堂奥。学子描红、士子举业、居士写经、坊间印书，竞相仿效。至今仍是适用非常广、影响十分巨大的书法作品。\n颜真卿传世书碑之作中，《多宝塔碑》所蕴文献价值是非常大的。其一，此碑书写厚重，石料坚硬细腻，加上运用了直刀深刻法进行镌刻，因而历经1000多年的锤拓仍完好如初，字口清晰，神采奕奕。除康熙年间碑石断裂损泐二十字之外，无缺文、疑字，这对赏鉴颜书、校考碑文、考辨各代拓本流传都甚为有利。其二，碑文撰者岑勋、多宝塔出资助修者许王瓘，检阅史籍后考得生平事迹一二，或可补史志未载。其三，碑文所记禅师楚金事可与同门僧人飞锡撰《楚金禅师碑》及佛教文献互参校考。其四，多宝塔碑叙记之事多有虚诞，但基于唐玄宗时佛教发展达于极盛，伽蓝之数较唐初几增一倍的史实，反观此碑言及，亦无疑是对当时“抑而不毁”的佛教之况、政教关系的一种反映。",[23,24,25,26,7,94],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c0cd473a1a4b8fef76316a36533dd.jpg","高285厘米，宽102厘米",[],40,{"id":100,"slug":101,"title":102,"dynasty":103,"author":64,"museum":104,"description":105,"tags":106,"thumbUrl":111,"material":112,"size":113,"collection":28,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":32},214202,"jing-jun-bei-yi-ming-214202","景君碑","汉","济宁博物馆","《景君碑》高288厘米，宽105.6厘米，圭首，有12厘米直径的碑穿，额篆“汉故益州太守北海相景君铭”，2行12字，字径6厘米。碑阳17行，满行33字，字径3厘米，记景君殁后，门下属之隶慕其德而为之立碑、服丧、守墓等事。碑阴4列，第4列仅刻前2行，为题记；前3列每列各有题名18行，其后有四言韵语2长行（3列合为1列），共72字。 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汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[108,25,26,276,7,198],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a35f28767612d423e51ca80a3b0977.jpg",[],9,{"id":281,"slug":282,"title":283,"dynasty":284,"author":285,"museum":20,"description":185,"tags":286,"thumbUrl":287,"material":124,"size":125,"collection":28,"collections":288,"showCount":279,"zanCount":31,"manualWeight":11,"mainColor":32},287376,"wei-yi-ren-mu-zhi-shi-qu-bao-ji-fa-tie-zhao-meng-fu-287376","卫宜人墓志 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赵建遂及夫人董氏王氏合葬墓志. 正书原刻. 易县, 唐大中9年[855]2月17日葬. 拓片墨纸尺寸: 44.5 x 44厘米. 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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[544,545,68,546,7,547,548,549,550,551,552,553],"铜版画","写实","贵族","建筑装饰","古典服饰","室内场景","线条精细","文艺复兴风格","浮雕","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776b8b23ccd1986927ba039cc9fa4a8c.jpg",[],{"id":557,"slug":558,"title":559,"dynasty":18,"author":194,"museum":195,"description":196,"tags":560,"thumbUrl":561,"material":25,"size":200,"collection":28,"collections":562,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":128},220214,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-3-liu-gong-quan-220214","神策军碑-皇帝巡幸左神策军纪圣德碑3",[24,25,26,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a80342695c9c1fa3e25ddc4525a545.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":18,"author":194,"museum":195,"description":196,"tags":567,"thumbUrl":568,"material":25,"size":200,"collection":28,"collections":569,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":128},220208,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-7-liu-gong-quan-220208","神策军碑-皇帝巡幸左神策军纪圣德碑7",[439,26,25,24,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482373d13eae8f973dd01e5e82604294.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":18,"author":194,"museum":195,"description":196,"tags":574,"thumbUrl":575,"material":25,"size":200,"collection":28,"collections":576,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":128},220207,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-8-liu-gong-quan-220207","神策军碑-皇帝巡幸左神策军纪圣德碑8",[26,24,25,7,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabbc9d259b61d10ec9e1cfc3f351b597.jpg",[],{"id":578,"slug":579,"title":580,"dynasty":18,"author":194,"museum":195,"description":196,"tags":581,"thumbUrl":582,"material":25,"size":200,"collection":28,"collections":583,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":128},220195,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-19-liu-gong-quan-220195","神策军碑-皇帝巡幸左神策军纪圣德碑19",[26,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ff227b9f582915962e1ff75c5407e7.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":18,"author":194,"museum":195,"description":196,"tags":588,"thumbUrl":589,"material":25,"size":200,"collection":28,"collections":590,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":128},220174,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-36-liu-gong-quan-220174","神策军碑-皇帝巡幸左神策军纪圣德碑36",[23,24,25,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6ea690e2a2d4635a576561780b6f3.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":417,"author":64,"museum":20,"description":595,"tags":596,"thumbUrl":597,"material":124,"size":125,"collection":28,"collections":598,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":128},242205,"tang-xi-dian-song-gao-shan-qing-yu-ming-yi-ming-242205","堂谿典嵩高山请雨铭","题签行书朴厚舒展，笔墨沉雅自带旧朝金石收藏的意趣。页面漫漶的墨渍与虫蛀残痕，是时光摩挲留下的印记，晕开百年递藏的岁月温度。残损之处非但未减其味，反倒衬出古物历经世序流转的厚重底蕴，将汉隶刻石的金石气与旧藏的温润感相融，静静诉说着过往的金石收藏风尚。",[26,25,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a358827934ef46d08bf0a77e9f180.jpg",[],{"id":600,"slug":601,"title":602,"dynasty":313,"author":64,"museum":20,"description":603,"tags":604,"thumbUrl":607,"material":124,"size":125,"collection":28,"collections":608,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":128},232864,"a-han-bei-da-guan-di-5-ji-yi-ming-232864","A汉碑大观（第5集）","此作为汉隶佳构，用笔敦厚朴茂，蚕头燕尾尽显典型意趣，波磔舒展飘逸，线条粗细错落自带节律。结体方正匀整，排布端稳齐整，章法行列井然，通篇古雅沉静，庙堂之气盎然。\n\n字字筋骨内含，拙中藏秀，将隶书庄重宽博的特质尽显无遗，笔墨间裹挟着古朴醇厚的金石韵味，尽显汉隶正统风貌，是临摹研习隶书的绝佳范本。",[108,25,26,7,605,606],"汉隶","白文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cebe829cc377d90069c41443b4612d2.jpg",[],{"id":610,"slug":611,"title":612,"dynasty":80,"author":64,"museum":20,"description":613,"tags":614,"thumbUrl":616,"material":28,"size":28,"collection":28,"collections":617,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},227050,"shi-xian-mu-zhi-yi-ming-227050","石尠墓志","处士石定墓志，西晋，高47厘米，宽23厘米。\n\n西晋永嘉二年（308年）墓志刻石。刻石存文10行185字，隶书体。内容主要刊刻石定族属简历及其本人殁事。此墓志保存完整，书文精美，刊刻精良，志文主要部分内容可与石尠墓志相参，二志石同刊同出，殊属难得珍贵。1919年河南洛阳城北马坡村出土。曾归周季木收藏。\n\n录文：处士乐陵厌次都乡清明里石定，字庶公，太尉昌安元公之第三孙，尚书城阳乡侯之適子也。秉心守正，志节清远，有才干胆断，本郡功曹察孝、州辟皆不就，举秀才不行，侍父乡里。永嘉元年逆贼汲桑破邺都之后，遂肆凶暴，鼓行东北，其年九月五日攻围侯，侯亲率邑族，临危奋讨，众寡不敌，七日城陷，侯薨。定与弟迈致命左右，年廿八。才志不遂，呜乎哀哉！凡我邦族，莫不嗟恸。二年七月十九日祔葬于侯墓之右次，刊石纪终，俾示来世。妻沛国刘氏，字贵华。父字终嘏，晋故太常卿。",[67,26,25,7,24,615,110],"晋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8335f06b489afdc5dd3dc4f0da69a2.jpg",[],{"id":619,"slug":620,"title":621,"dynasty":350,"author":622,"museum":623,"description":624,"tags":625,"thumbUrl":641,"material":642,"size":643,"collection":28,"collections":644,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":28},220617,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220617","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《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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