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。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[65,23,24,25,26,27,66,67,68,69,70,28,7],"高清","大写意","泼墨","葡萄","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg","",[],528,7,{"id":77,"slug":78,"title":79,"dynasty":80,"author":81,"museum":62,"description":82,"tags":83,"thumbUrl":87,"material":88,"size":89,"collection":55,"collections":90,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":93},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","宋","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。",[65,84,23,24,85,28,86,7,26,29],"名画","长卷","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[55],280,4,"795548",{"id":95,"slug":96,"title":97,"dynasty":46,"author":98,"museum":48,"description":99,"tags":100,"thumbUrl":102,"material":103,"size":104,"collection":55,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":41},221021,"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。",[65,28,7,85,26,101,29],"纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[55],256,3,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":119,"material":120,"size":121,"collection":55,"collections":122,"showCount":124,"zanCount":125,"manualWeight":11,"mainColor":41},221077,"qian-zi-wen-he-juan-zhi-yong-221077","千字文合卷","唐","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。",[65,28,117,7,85,118,51],"楷书","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","纸本墨笔","原册每开纵24厘米，横11厘米",[55,123],"碑帖精选",226,2,{"id":127,"slug":128,"title":129,"dynasty":18,"author":130,"museum":20,"description":131,"tags":132,"thumbUrl":133,"material":35,"size":134,"collection":55,"collections":135,"showCount":136,"zanCount":137,"manualWeight":11,"mainColor":41},214552,"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。",[65,28,7,85,24,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[55],194,1,{"id":139,"slug":140,"title":141,"dynasty":46,"author":47,"museum":142,"description":143,"tags":144,"thumbUrl":146,"material":72,"size":72,"collection":55,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":93},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","辽宁省博物馆","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[65,28,85,86,7,145,29,51],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[55,123],189,{"id":150,"slug":151,"title":152,"dynasty":153,"author":154,"museum":62,"description":155,"tags":156,"thumbUrl":160,"material":161,"size":162,"collection":72,"collections":163,"showCount":164,"zanCount":137,"manualWeight":11,"mainColor":41},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴","清","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[65,84,23,24,25,26,157,158,159,28,7,29],"花鸟","飞鸟","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg","未知","Xcm*Xcm",[],186,{"id":166,"slug":167,"title":168,"dynasty":112,"author":169,"museum":20,"description":170,"tags":171,"thumbUrl":172,"material":173,"size":174,"collection":55,"collections":175,"showCount":176,"zanCount":137,"manualWeight":11,"mainColor":41},221097,"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”。",[65,28,7,85,29,51,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","白纸本","纵28.3厘米，横775厘米",[55,123],183,{"id":178,"slug":179,"title":180,"dynasty":46,"author":47,"museum":181,"description":182,"tags":183,"thumbUrl":185,"material":186,"size":187,"collection":55,"collections":188,"showCount":176,"zanCount":125,"manualWeight":11,"mainColor":189},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","日本京都国立博物馆","《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。",[65,7,28,85,51,184],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[55,123],"37474F",{"id":191,"slug":192,"title":193,"dynasty":194,"author":195,"museum":62,"description":196,"tags":197,"thumbUrl":200,"material":161,"size":162,"collection":72,"collections":201,"showCount":202,"zanCount":125,"manualWeight":11,"mainColor":189},226521,"guan-jun-tie-zhang-zhi-226521","冠军帖","汉","张芝","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[65,28,7,85,198,199],"古代书法","汉代草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8430773f56eb0dd4f44e420eff83f0b2.jpg",[],164,{"id":204,"slug":205,"title":206,"dynasty":207,"author":208,"museum":62,"description":209,"tags":210,"thumbUrl":213,"material":35,"size":72,"collection":214,"collections":215,"showCount":217,"zanCount":107,"manualWeight":11,"mainColor":41},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","民国","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[23,24,52,26,7,86,211,212,27],"人物","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg","人物画精选",[214,216],"水墨画精选",156,{"id":219,"slug":220,"title":221,"dynasty":46,"author":98,"museum":222,"description":223,"tags":224,"thumbUrl":226,"material":227,"size":228,"collection":55,"collections":229,"showCount":217,"zanCount":137,"manualWeight":11,"mainColor":93},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","上海博物馆","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。",[84,23,24,28,7,101,225,29],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","绢本,水墨","26.1x26.9",[55],{"id":231,"slug":232,"title":233,"dynasty":80,"author":234,"museum":20,"description":235,"tags":236,"thumbUrl":237,"material":238,"size":239,"collection":55,"collections":240,"showCount":241,"zanCount":137,"manualWeight":11,"mainColor":93},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[28,24,85,145,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[55],149,{"id":243,"slug":244,"title":245,"dynasty":153,"author":154,"museum":62,"description":246,"tags":247,"thumbUrl":252,"material":72,"size":72,"collection":72,"collections":253,"showCount":254,"zanCount":137,"manualWeight":11,"mainColor":41},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[65,23,24,85,26,86,7,29,157,248,249,250,251],"牡丹","桃花","绣球","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":256,"slug":257,"title":258,"dynasty":112,"author":259,"museum":142,"description":260,"tags":261,"thumbUrl":262,"material":263,"size":72,"collection":55,"collections":264,"showCount":265,"zanCount":125,"manualWeight":11,"mainColor":93},221080,"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。”",[65,28,7,85,24,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg","墨迹本",[55,123],137,{"id":267,"slug":268,"title":269,"dynasty":112,"author":169,"museum":20,"description":270,"tags":271,"thumbUrl":275,"material":173,"size":276,"collection":55,"collections":277,"showCount":278,"zanCount":92,"manualWeight":11,"mainColor":93},221096,"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。",[65,28,7,272,85,273,274,29,51],"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",[55,123],132,{"id":280,"slug":281,"title":282,"dynasty":80,"author":234,"museum":283,"description":284,"tags":285,"thumbUrl":286,"material":173,"size":287,"collection":55,"collections":288,"showCount":289,"zanCount":137,"manualWeight":11,"mainColor":41},221277,"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","美国大都会艺术博物馆","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。",[65,28,7,85,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[55],127,{"id":291,"slug":292,"title":293,"dynasty":153,"author":154,"museum":62,"description":294,"tags":295,"thumbUrl":296,"material":72,"size":72,"collection":72,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":41},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[65,23,24,52,26,157,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],121,{"id":300,"slug":301,"title":302,"dynasty":303,"author":304,"museum":48,"description":305,"tags":306,"thumbUrl":308,"material":101,"size":309,"collection":55,"collections":310,"showCount":311,"zanCount":107,"manualWeight":11,"mainColor":41},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","元","赵孟頫","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。",[65,28,307,7,85,101,225,51,29],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[55],118,{"id":313,"slug":314,"title":315,"dynasty":18,"author":316,"museum":20,"description":317,"tags":318,"thumbUrl":319,"material":35,"size":320,"collection":55,"collections":321,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":41},214214,"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。",[65,28,7,26,29,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[55],115,{"id":324,"slug":325,"title":326,"dynasty":112,"author":327,"museum":20,"description":328,"tags":329,"thumbUrl":330,"material":173,"size":331,"collection":55,"collections":332,"showCount":333,"zanCount":137,"manualWeight":11,"mainColor":41},221081,"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。”",[65,84,23,24,85,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[55,123],108,{"id":335,"slug":336,"title":337,"dynasty":80,"author":338,"museum":222,"description":339,"tags":340,"thumbUrl":342,"material":101,"size":343,"collection":55,"collections":344,"showCount":345,"zanCount":125,"manualWeight":11,"mainColor":41},221346,"qian-zi-wen-zhao-ji-221346","千字文","赵佶","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。",[28,7,85,101,29,341],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[55],102,{"id":347,"slug":348,"title":349,"dynasty":18,"author":350,"museum":181,"description":351,"tags":352,"thumbUrl":353,"material":101,"size":354,"collection":55,"collections":355,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":41},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","董其昌","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。",[65,28,7,85,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[55],{"id":357,"slug":358,"title":359,"dynasty":112,"author":259,"museum":62,"description":360,"tags":361,"thumbUrl":362,"material":103,"size":363,"collection":55,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":366},221078,"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」。",[65,7,28,24,85,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","27*541",[55,123],101,"F48FB1",{"id":368,"slug":369,"title":370,"dynasty":80,"author":234,"museum":48,"description":371,"tags":372,"thumbUrl":373,"material":374,"size":375,"collection":55,"collections":376,"showCount":377,"zanCount":137,"manualWeight":11,"mainColor":41},221281,"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。",[65,28,7,86,85,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[55],98,{"id":379,"slug":380,"title":381,"dynasty":46,"author":47,"museum":62,"description":382,"tags":383,"thumbUrl":384,"material":72,"size":72,"collection":55,"collections":385,"showCount":386,"zanCount":125,"manualWeight":11,"mainColor":41},221036,"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。",[65,28,7,85,145,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[55,123],97,{"id":388,"slug":389,"title":390,"dynasty":303,"author":391,"museum":20,"description":392,"tags":393,"thumbUrl":394,"material":35,"size":395,"collection":55,"collections":396,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":41},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","佚名","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[65,23,24,28,7,26,29,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[55],93,{"id":399,"slug":400,"title":302,"dynasty":112,"author":113,"museum":62,"description":401,"tags":402,"thumbUrl":403,"material":161,"size":162,"collection":72,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":41},288358,"zhen-cao-qian-zi-wen-zhi-yong-288358","智永和尚（生卒年不详），南朝、隋朝人，本名王法极，字智永，会稽山阴（今浙江绍兴）人，书圣王羲之七世孙，第五子王徽之后代，号“永禅师”。\n智永善书，书有家法。将王羲之作为传家之宝的《兰亭序》，带到云门寺保存。云门寺（原名永欣寺）有书阁，智永禅师居阁上临书20年，留下了“退笔冢”、”铁门槛“等传说。\n智永对后世书法影响深远。他创“永字八法”，为后代楷书立下典范。所临《真草千字文》八百多份，广为分发，影响远及日本。即使现在，依然是书法学习的经典教材。",[28,117,7,51,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57cce12e812fa72d6f17d7f342709e9.jpg",[],92,{"id":407,"slug":408,"title":409,"dynasty":18,"author":410,"museum":20,"description":411,"tags":412,"thumbUrl":413,"material":35,"size":414,"collection":55,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":41},214209,"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。",[65,23,24,25,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2076e1c76e1c425049da7a553c9a512f.jpg","133.5x53.7",[55],89,{"id":418,"slug":419,"title":420,"dynasty":112,"author":421,"museum":422,"description":423,"tags":424,"thumbUrl":426,"material":427,"size":428,"collection":55,"collections":429,"showCount":430,"zanCount":137,"manualWeight":11,"mainColor":189},221062,"pei-jiang-jun-shi-tie-yan-zhen-qing-221062","裴将军诗帖","颜真卿","原作佚失","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”。",[65,85,28,184,51,117,86,7,425],"隶书","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",[55,123],88,{"id":432,"slug":433,"title":434,"dynasty":18,"author":19,"museum":48,"description":435,"tags":436,"thumbUrl":437,"material":101,"size":72,"collection":55,"collections":438,"showCount":439,"zanCount":11,"manualWeight":11,"mainColor":41},240490,"xu-wei-shi-juan-xu-wei-240490","徐渭诗卷","此卷书篇幅较长，从始至终一直保持着良好的书写状态，一气呵成。在运笔方面虽不如草书奔放连绵，但却比楷书流畅自如，字形变化多样，或横斜，或倚侧，皆随意为之，毫不矫揉造作，故有浑朴天成之趣。在笔画的提、按变化上有时也参用隶书之法，使所书之字更富有古雅的情致，不失为徐氏精于运笔的行书之杰作。在布局与气势上深得米芾书法的神韵，兼具黄、苏的笔意。作品风格与徐渭平日恣肆放纵、狂傲不驯的用笔有所不同，似为其晚年作品。",[65,28,86,7,85,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ec447aa8da7818e7c4392d2866cbaa.jpg",[55],81,{"id":441,"slug":442,"title":443,"dynasty":303,"author":444,"museum":48,"description":445,"tags":446,"thumbUrl":448,"material":101,"size":449,"collection":55,"collections":450,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":41},220784,"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。",[65,28,7,447,85,29],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79733ea91dcfd3a8e7e0329846ff3007.jpg","29.3×203厘米",[55],78,{"id":453,"slug":454,"title":79,"dynasty":80,"author":81,"museum":62,"description":455,"tags":456,"thumbUrl":458,"material":161,"size":162,"collection":72,"collections":459,"showCount":460,"zanCount":137,"manualWeight":11,"mainColor":93},288129,"dao-gu-zhan-chang-yue-fei-288129","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。",[28,7,184,79,457],"悲壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708889bf1addd8159f895ddf10affe9d.jpg",[],77,{"id":462,"slug":463,"title":464,"dynasty":153,"author":465,"museum":466,"description":467,"tags":468,"thumbUrl":470,"material":101,"size":471,"collection":472,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":41},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰","安徽省博物馆","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。",[65,84,23,24,85,469,26,157,86,7,29,212,248],"设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1","山水画精选",[472,216],75,{"id":476,"slug":477,"title":478,"dynasty":18,"author":479,"museum":48,"description":480,"tags":481,"thumbUrl":482,"material":35,"size":483,"collection":55,"collections":484,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":41},219150,"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。”",[65,28,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba759976bd3332a262a2c7e984cb7da.jpg","纵148厘米，横59.4厘米",[55],{"id":486,"slug":487,"title":488,"dynasty":112,"author":489,"museum":222,"description":490,"tags":491,"thumbUrl":492,"material":101,"size":493,"collection":55,"collections":494,"showCount":495,"zanCount":125,"manualWeight":11,"mainColor":41},221051,"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。",[28,7,85,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727bc937e04080676c39b9d3ae256047.jpg","纵30.8cm，横331.3cm，为残本",[55,123],74,{"id":497,"slug":498,"title":499,"dynasty":46,"author":47,"museum":48,"description":49,"tags":500,"thumbUrl":501,"material":35,"size":54,"collection":72,"collections":502,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":41},214579,"yu-hou-tie-4-wang-xi-zhi-214579","雨后帖-4",[28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcc946dcc7eddc58de94fb6f17a011a.jpg",[],73,{"id":505,"slug":506,"title":507,"dynasty":153,"author":508,"museum":20,"description":509,"tags":510,"thumbUrl":512,"material":35,"size":513,"collection":55,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":41},214238,"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。",[65,511,28,24,25,86,7,26,29],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[55],71,{"id":517,"slug":518,"title":519,"dynasty":46,"author":520,"museum":62,"description":521,"tags":522,"thumbUrl":523,"material":72,"size":72,"collection":72,"collections":524,"showCount":525,"zanCount":11,"manualWeight":11,"mainColor":41},227048,"ping-fu-tie-lu-ji-227048","平复帖","陆机","《平复帖》卷，晋，陆机书，纸本，手卷，纵23.7厘米，横20.6厘米 。\n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。",[65,28,7,51,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2a5b8673609f128d22c45974e653b.jpg",[],70,{"id":527,"slug":528,"title":529,"dynasty":80,"author":530,"museum":531,"description":532,"tags":533,"thumbUrl":536,"material":101,"size":537,"collection":538,"collections":539,"showCount":525,"zanCount":125,"manualWeight":11,"mainColor":189},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","美国弗利尔美术馆","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[65,23,24,85,251,211,534,535,28,86,7,117],"马","帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米","宋画精选",[538],{"id":541,"slug":542,"title":543,"dynasty":544,"author":545,"museum":48,"description":546,"tags":547,"thumbUrl":549,"material":101,"size":550,"collection":55,"collections":551,"showCount":552,"zanCount":137,"manualWeight":11,"mainColor":93},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","五代十国","杨凝式","《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。",[65,28,7,85,548,29,24],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[55],69,{"id":554,"slug":555,"title":556,"dynasty":112,"author":557,"museum":48,"description":558,"tags":559,"thumbUrl":560,"material":101,"size":561,"collection":55,"collections":562,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":93},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","柳公权","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[84,23,24,85,86,7,28,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[55,123],{"id":564,"slug":565,"title":566,"dynasty":112,"author":259,"museum":62,"description":567,"tags":568,"thumbUrl":569,"material":101,"size":363,"collection":55,"collections":570,"showCount":571,"zanCount":11,"manualWeight":11,"mainColor":189},221079,"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」。",[65,28,7,85,51,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[55,123],68,{"id":573,"slug":574,"title":575,"dynasty":80,"author":576,"museum":577,"description":578,"tags":579,"thumbUrl":580,"material":581,"size":582,"collection":55,"collections":583,"showCount":571,"zanCount":137,"manualWeight":11,"mainColor":72},220619,"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","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（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。",[65,28,184,51,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[55],{"id":585,"slug":586,"title":587,"dynasty":544,"author":545,"museum":48,"description":588,"tags":589,"thumbUrl":590,"material":101,"size":591,"collection":55,"collections":592,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":41},221140,"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。",[65,28,7,85,26,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[55],67,{"id":595,"slug":596,"title":597,"dynasty":18,"author":598,"museum":48,"description":599,"tags":600,"thumbUrl":601,"material":35,"size":602,"collection":55,"collections":603,"showCount":593,"zanCount":137,"manualWeight":11,"mainColor":41},219157,"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。",[65,7,28,85,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[55],{"id":605,"slug":606,"title":607,"dynasty":18,"author":391,"museum":62,"description":608,"tags":609,"thumbUrl":612,"material":161,"size":162,"collection":72,"collections":613,"showCount":614,"zanCount":125,"manualWeight":11,"mainColor":93},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[65,85,23,24,610,145,469,28,7,611],"龙","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],66,{"id":616,"slug":617,"title":618,"dynasty":112,"author":169,"museum":142,"description":619,"tags":620,"thumbUrl":621,"material":88,"size":622,"collection":55,"collections":623,"showCount":624,"zanCount":137,"manualWeight":11,"mainColor":41},221098,"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。",[65,28,7,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[55,123],65,{"id":626,"slug":627,"title":628,"dynasty":153,"author":154,"museum":48,"description":629,"tags":630,"thumbUrl":631,"material":101,"size":632,"collection":55,"collections":633,"showCount":634,"zanCount":11,"manualWeight":11,"mainColor":41},240511,"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。",[28,7,25,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621ebdd18807e3f033488d97158760b7.jpg","纵200.9厘米，横76.5厘米",[55],63,{"id":636,"slug":637,"title":638,"dynasty":112,"author":259,"museum":142,"description":639,"tags":640,"thumbUrl":641,"material":101,"size":642,"collection":72,"collections":643,"showCount":644,"zanCount":137,"manualWeight":11,"mainColor":93},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","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。”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。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。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。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[65,84,23,24,28,85,7,29,469,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],60,{"id":646,"slug":647,"title":648,"dynasty":18,"author":649,"museum":20,"description":650,"tags":651,"thumbUrl":653,"material":35,"size":654,"collection":55,"collections":655,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":41},214228,"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。",[65,28,7,652,26,24],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e52251aeb0efb31a0c91c6b12d432.jpg","150.9x29.9",[55],{"id":657,"slug":658,"title":659,"dynasty":112,"author":660,"museum":661,"description":662,"tags":663,"thumbUrl":664,"material":7,"size":665,"collection":55,"collections":666,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":41},221103,"xiao-jing-he-zhi-zhang-221103","孝经","贺知章","三之丸尚藏馆","《草书孝经》 以草书写“今文孝经”本文，无署款。据卷末小楷识语“建隆二年（961）冬十月重粘裱贺监墨迹”，推测为贺知章之作。北宋《宣和书谱》中亦著录有贺知章所书孝经。十七世纪后半期传入日本，明治年间由近卫家进献皇室。",[65,24,28,7,447,85,29,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428b72cda73cc4fd1eae81403a7e27ca.jpg","纵26.0厘米，横265.1厘米",[55],58,{"id":669,"slug":670,"title":671,"dynasty":153,"author":672,"museum":673,"description":674,"tags":675,"thumbUrl":676,"material":101,"size":677,"collection":55,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":41},220137,"jie-lu-huai-su-zi-xu-tie-zheng-ban-qiao-220137","节录怀素自叙帖","郑板桥","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。",[65,25,28,86,7,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7b134b4869b9dcbeea028d9e01d678.jpg","159cm×91cm",[55],57,{"id":681,"slug":682,"title":683,"dynasty":112,"author":327,"museum":62,"description":684,"tags":685,"thumbUrl":686,"material":72,"size":72,"collection":72,"collections":687,"showCount":688,"zanCount":11,"manualWeight":11,"mainColor":41},227246,"shu-pu-sun-guo-ting-227246","书谱","《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。\n\n孙过庭（活动于七世纪后期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之后，遂专注于书法研究。",[65,28,7,85,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d82f903b6926ec8c08c003e56a13f9.jpg",[],56,{"id":690,"slug":691,"title":692,"dynasty":112,"author":259,"museum":62,"description":693,"tags":694,"thumbUrl":695,"material":161,"size":162,"collection":72,"collections":696,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":41},287312,"gu-shi-si-tie-quan-juan-gao-qing-zhang-xu-287312","古诗四帖全卷(高清)","张旭（685年？—759年？），字伯高，一字季明，苏州吴县（今江苏苏州）人，唐代书法家，擅长草书，喜欢饮酒，世称“张颠”，与怀素并称“颠张醉素”，与贺知章、张若虚、包融并称“吴中四士”，又与贺知章等人并称“饮中八仙”，其草书则与李白的诗歌、裴旻的剑舞并称“三绝”。\n张旭出生于一个门第不低的家庭，曾向堂舅陆彦远学习书法，学有所成后为吴道子、颜真卿等钦慕；年长后通过应举或荐举、征辟而入仕，释褐为常熟县尉；先后任左率府长史、金吾长史，因而被世人称为“张长史”；大约在乾元二年（759年）逝世，享年大约七十五岁。\n在书法方面，张旭勤于观察客观事物，善于将客观的自然物象与个人的主观情感结合起来，既继承传统，又勇于创新，在继承前人书法成就并加以创新而使得自身的狂草艺术在盛唐时期达到了一个高峰。",[65,84,24,28,7,51,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f99a59fc1546923afae596439327.jpg",[],55,{"id":699,"slug":700,"title":701,"dynasty":46,"author":98,"museum":20,"description":702,"tags":703,"thumbUrl":704,"material":705,"size":706,"collection":55,"collections":707,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":93},221022,"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”。",[28,7,184,52,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712465363030588952e2ae348618c63.jpg","狂草","27.7x32.5",[55],{"id":709,"slug":710,"title":711,"dynasty":18,"author":19,"museum":712,"description":713,"tags":714,"thumbUrl":715,"material":101,"size":72,"collection":55,"collections":716,"showCount":717,"zanCount":11,"manualWeight":11,"mainColor":41},240643,"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。",[23,24,25,26,29,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[55],54,{"id":719,"slug":720,"title":721,"dynasty":80,"author":530,"museum":722,"description":723,"tags":724,"thumbUrl":725,"material":726,"size":727,"collection":37,"collections":728,"showCount":717,"zanCount":137,"manualWeight":11,"mainColor":41},218938,"jun-gu-tu-gong-kai-218938","骏骨图","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。",[65,23,24,85,251,26,534,28,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[37,55,216],{"id":730,"slug":731,"title":732,"dynasty":80,"author":733,"museum":734,"description":735,"tags":736,"thumbUrl":737,"material":101,"size":738,"collection":55,"collections":739,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":41},221463,"xie-chang-yuan-zuo-you-zi-jing-ci-wen-tian-xiang-221463","谢昌元座右自警辞","文天祥","中国国家博物馆","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。",[65,28,85,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[55],52,{"id":742,"slug":743,"title":744,"dynasty":18,"author":19,"museum":531,"description":745,"tags":746,"thumbUrl":748,"material":35,"size":749,"collection":72,"collections":750,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":41},220097,"shi-er-mo-hua-tu-juan-1-xu-wei-220097","十二墨花图卷-1","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,24,85,26,27,157,7,29,747],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b62eb182373bb75f2464f99871c93e.jpg","全卷32.8cm×544cm",[],{"id":752,"slug":753,"title":754,"dynasty":112,"author":169,"museum":62,"description":755,"tags":756,"thumbUrl":757,"material":72,"size":72,"collection":55,"collections":758,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":93},239650,"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。",[65,84,23,24,85,145,28,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[55],50,{"id":761,"slug":762,"title":763,"dynasty":18,"author":764,"museum":765,"description":766,"tags":767,"thumbUrl":776,"material":227,"size":72,"collection":472,"collections":777,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":41},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳","大英博物馆","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。",[65,23,24,85,86,7,768,26,469,211,769,770,771,772,773,774,775,29],"篆书","楼阁","小桥","流水","孤舟","亭","树","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[472,55],49,{"id":780,"slug":781,"title":782,"dynasty":80,"author":234,"museum":48,"description":783,"tags":784,"thumbUrl":785,"material":101,"size":786,"collection":55,"collections":787,"showCount":788,"zanCount":137,"manualWeight":11,"mainColor":93},221279,"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》。",[65,84,23,24,85,7,28,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[55],48,{"id":790,"slug":791,"title":792,"dynasty":112,"author":327,"museum":142,"description":793,"tags":794,"thumbUrl":795,"material":101,"size":796,"collection":55,"collections":797,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":41},221082,"qian-zi-wen-quan-juan-sun-guo-ting-221082","千字文全卷","孙过庭（活动於七世纪後期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之後，遂专注於书法研究。",[65,24,85,7,28,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478245946dbc530b0f20c7fa56686df.jpg","25.7cmX82.5cm",[55,123],47,{"id":800,"slug":801,"title":802,"dynasty":18,"author":803,"museum":20,"description":804,"tags":805,"thumbUrl":807,"material":35,"size":808,"collection":55,"collections":809,"showCount":798,"zanCount":137,"manualWeight":11,"mainColor":189},214224,"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。",[65,23,24,28,25,86,7,26,806],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[55],{"id":811,"slug":812,"title":813,"dynasty":153,"author":154,"museum":62,"description":155,"tags":814,"thumbUrl":815,"material":161,"size":162,"collection":72,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":41},241106,"zhu-da-ti-hua-shi-zhou-zhu-da-241106","朱耷题画诗轴",[28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5289de8e8a36f09e5a9b63ede3b7218.jpg",[],44,{"id":819,"slug":820,"title":821,"dynasty":80,"author":822,"museum":20,"description":823,"tags":824,"thumbUrl":825,"material":101,"size":826,"collection":55,"collections":827,"showCount":817,"zanCount":137,"manualWeight":11,"mainColor":41},221306,"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","苏轼","《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。",[65,28,24,85,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[55],{"id":829,"slug":830,"title":831,"dynasty":46,"author":832,"museum":48,"description":833,"tags":834,"thumbUrl":836,"material":184,"size":837,"collection":55,"collections":838,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":93},221019,"yue-yi-tie-suo-jing-221019","月仪帖","索靖","《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。",[28,835,7,51,184],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945befcf89cb49b12f26f8c67c6a1af4.jpg","纵35.56cm，横417.03cm",[55],{"id":840,"slug":841,"title":648,"dynasty":18,"author":842,"museum":20,"description":843,"tags":844,"thumbUrl":845,"material":35,"size":846,"collection":55,"collections":847,"showCount":848,"zanCount":11,"manualWeight":11,"mainColor":93},214229,"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。",[65,23,24,28,7,652,25,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138e440fe4dca4e8a2f9ad3fe70c9266.jpg","135.2x24.2",[55],43,{"id":850,"slug":851,"title":852,"dynasty":153,"author":154,"museum":62,"description":155,"tags":853,"thumbUrl":854,"material":161,"size":162,"collection":72,"collections":855,"showCount":856,"zanCount":11,"manualWeight":11,"mainColor":41},290474,"shu-fa-ce-zhen-ji-10-zhen-zhu-da-290474","书法册真迹10帧",[65,52,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d002724df910e07b5b298afd344ff3.jpg",[],42,{"id":858,"slug":859,"title":860,"dynasty":18,"author":764,"museum":62,"description":861,"tags":862,"thumbUrl":863,"material":161,"size":162,"collection":72,"collections":864,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":41},290917,"mu-dan-zhou-chen-chun-290917","牡丹轴","陈淳（1483年—1544年），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。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[23,24,25,469,157,248,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":867,"slug":868,"title":869,"dynasty":18,"author":870,"museum":871,"description":872,"tags":873,"thumbUrl":874,"material":875,"size":876,"collection":55,"collections":877,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":41},222538,"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。",[65,28,7,85,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","绫本","纵31cm，横238cm",[55],{"id":879,"slug":880,"title":881,"dynasty":18,"author":19,"museum":62,"description":882,"tags":883,"thumbUrl":884,"material":101,"size":72,"collection":55,"collections":885,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":41},240282,"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。",[65,84,23,24,85,28,7,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[55],39,{"id":888,"slug":889,"title":890,"dynasty":46,"author":520,"museum":48,"description":891,"tags":892,"thumbUrl":893,"material":101,"size":894,"collection":55,"collections":895,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":93},239552,"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","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。",[28,7,85,29,51,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[55],{"id":897,"slug":898,"title":899,"dynasty":46,"author":98,"museum":48,"description":900,"tags":901,"thumbUrl":902,"material":101,"size":104,"collection":55,"collections":903,"showCount":886,"zanCount":137,"manualWeight":11,"mainColor":41},239551,"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。",[65,84,23,24,85,7,28,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[55],{"id":905,"slug":906,"title":907,"dynasty":18,"author":870,"museum":142,"description":872,"tags":908,"thumbUrl":909,"material":101,"size":910,"collection":55,"collections":911,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":41},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖",[65,28,7,145,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[55],{"id":913,"slug":914,"title":915,"dynasty":112,"author":169,"museum":62,"description":916,"tags":917,"thumbUrl":918,"material":72,"size":72,"collection":72,"collections":919,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":93},232633,"huai-su-guo-zhong-tie-huai-su-232633","怀素过钟帖","前人写狂草，往往先来一大壶，半醉半醒，醉眼迷离，然后便笔走龙蛇，一气呵成。\n在这种状态下比较突出的两位，是唐代的怀素和张旭，后世有“张颠素狂”或“颠张醉素”之称，张旭史称草圣。、\n而怀素也同样是中国历史上杰出的书法家，他的草书称为狂草，用笔圆劲有力，使转如环，奔放流畅，和张旭齐名。可以说是古典的浪漫主义艺术，对后世影响极为深远。\n怀素能诗，与李白、杜甫、苏涣等诗人都有交往。好饮酒，每当饮酒兴起，不分墙壁、衣物、器皿，任意挥写，时人谓之“醉僧”。\n怀素的草书有《自叙帖》、《苦笋帖》、《食鱼帖》、《圣母帖》、《论书帖》、《大草千文》、《小草千字文》、《四十二章经》、《千字文》、《藏真帖》、《七帖》、《北亭草笔》等等。而《过钟帖》是怀素的草书作品之一\n释文：右軍云吾真書過鍾，而草故不減張僕，以為真 不如鍾，草不及張，所為世之，所重以 其能，懐素書之不足以為道，其言當不虚也 。",[65,28,24,51,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347d2d99acd4fd911a14f4f1d935f8d1.jpg",[],38,{"id":922,"slug":923,"title":924,"dynasty":153,"author":925,"museum":62,"description":926,"tags":927,"thumbUrl":928,"material":72,"size":72,"collection":37,"collections":929,"showCount":930,"zanCount":137,"manualWeight":11,"mainColor":41},234265,"za-hua-ce-huang-shen-234265","杂画册","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[65,23,24,52,26,469,157,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[37],37,{"id":932,"slug":933,"title":934,"dynasty":544,"author":935,"museum":62,"description":936,"tags":937,"thumbUrl":944,"material":161,"size":162,"collection":72,"collections":945,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":41},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图","董源","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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[65,84,23,85,24,26,469,938,939,940,772,941,942,158,28,86,7,29,943],"皴法","山水","江河","洲渚","林木","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],36,{"id":948,"slug":949,"title":950,"dynasty":153,"author":951,"museum":48,"description":952,"tags":953,"thumbUrl":954,"material":875,"size":955,"collection":55,"collections":956,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":41},241152,"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。",[28,7,145,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb93e15566937083bd854701f9428ea7.jpg","纵162.2厘米，横44厘米",[55],{"id":958,"slug":959,"title":960,"dynasty":18,"author":870,"museum":62,"description":961,"tags":962,"thumbUrl":963,"material":101,"size":72,"collection":55,"collections":964,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":41},240425,"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。",[806,28,24,25,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[55],33,{"id":967,"slug":968,"title":969,"dynasty":18,"author":130,"museum":142,"description":970,"tags":971,"thumbUrl":972,"material":72,"size":973,"collection":55,"collections":974,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":41},222475,"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",[65,28,24,7,26,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 cm",[55],{"id":976,"slug":977,"title":978,"dynasty":153,"author":465,"museum":62,"description":979,"tags":980,"thumbUrl":982,"material":161,"size":162,"collection":72,"collections":983,"showCount":984,"zanCount":137,"manualWeight":11,"mainColor":41},288830,"mei-hua-mu-dan-shi-hua-juan-gao-feng-han-288830","梅花牡丹诗画卷","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[65,84,23,24,85,26,157,981,248,7,28],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1137d6b12560322e8e67b8b86649204c.jpg",[],32,{"id":986,"slug":987,"title":988,"dynasty":18,"author":19,"museum":62,"description":989,"tags":990,"thumbUrl":991,"material":161,"size":162,"collection":72,"collections":992,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":41},239871,"qi-lv-zhou-xu-wei-239871","七律轴","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。",[18,28,25,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc005f883ee27f9e4510a7c83aa66459a.jpg",[],{"id":994,"slug":995,"title":996,"dynasty":80,"author":234,"museum":62,"description":997,"tags":998,"thumbUrl":1000,"material":72,"size":72,"collection":72,"collections":1001,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":41},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。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\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[999,28,7,85,29,24],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":1003,"slug":1004,"title":1005,"dynasty":303,"author":1006,"museum":222,"description":1007,"tags":1008,"thumbUrl":1009,"material":101,"size":1010,"collection":55,"collections":1011,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":366},221843,"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。",[65,84,23,24,85,28,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[55],{"id":1013,"slug":1014,"title":1015,"dynasty":46,"author":1016,"museum":20,"description":1017,"tags":1018,"thumbUrl":1019,"material":52,"size":1020,"collection":123,"collections":1021,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":189},221012,"bei-song-ta-jiang-tie-ba-ce-liu-ling-221012","北宋榻绛帖 （八）册","刘伶","一醉能醉三年？刘伶不信这个邪。他走进酒馆，问杜康要酒喝，杜康给了他一杯、两杯、三杯，不断地劝他别喝多了。刘伶不依不饶，三杯下肚，顿觉天旋地转，连忙道别。\n刘伶跌跌撞撞回到了家，对妻子交代：「我若死，就埋在酒池内，用酒盅酒壶陪葬。」说完，就人事不知，连呼吸也没有了。刘伶妻子以为他死了，痛哭不已。后来，照刘伶的「遗愿」，妻子安葬了他。\n三年后，杜康来到刘伶家，说是来讨要酒钱的。刘伶的妻子又气又恨，恨杜康给刘伶喝酒喝死了人，要拉杜康去见官。不料，杜康却说：「你的丈夫并没有死，他只是醉了。不信你们把棺材打开。」\n众人将信将疑，如杜康所言，开棺查看。果真见刘伶面色红润，栩栩如生。只听杜康高声叫道：「刘伶醒来，刘伶醒来！」棺材里的刘伶伸了一下懒腰，打个哈欠，居然真的活过来了，嘴里还说道：「好酒，好酒！」",[184,28,51,52,29,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 厘米",[123],{"id":1023,"slug":1024,"title":1025,"dynasty":303,"author":1026,"museum":20,"description":1027,"tags":1028,"thumbUrl":1031,"material":35,"size":1032,"collection":37,"collections":1033,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":41},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","张中","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[23,24,26,157,249,1029,1030,28,86,7,29,27],"鸟","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[37],{"id":1035,"slug":1036,"title":1037,"dynasty":303,"author":1038,"museum":62,"description":1039,"tags":1040,"thumbUrl":1045,"material":161,"size":162,"collection":72,"collections":1046,"showCount":1047,"zanCount":137,"manualWeight":11,"mainColor":93},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[65,84,23,24,85,26,211,939,1041,770,773,1042,1043,1044,7,28],"竹林","兰亭雅集","文人雅集","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],31,{"id":1049,"slug":1050,"title":1051,"dynasty":18,"author":19,"museum":62,"description":989,"tags":1052,"thumbUrl":1054,"material":161,"size":162,"collection":72,"collections":1055,"showCount":1047,"zanCount":11,"manualWeight":11,"mainColor":41},288073,"zi-shu-shi-wen-ce-xu-wei-288073","自书诗文册",[28,7,52,1053],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2617b4f8174c95ec7d46dd8fed0ba01.jpg",[],{"id":1057,"slug":1058,"title":924,"dynasty":153,"author":154,"museum":62,"description":155,"tags":1059,"thumbUrl":1061,"material":161,"size":162,"collection":72,"collections":1062,"showCount":1047,"zanCount":11,"manualWeight":11,"mainColor":41},237937,"za-hua-ce-zhu-da-237937",[23,24,52,26,86,7,775,1060,27,938,29],"树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":1064,"slug":1065,"title":1066,"dynasty":18,"author":1067,"museum":62,"description":1068,"tags":1069,"thumbUrl":1071,"material":161,"size":162,"collection":472,"collections":1072,"showCount":1047,"zanCount":11,"manualWeight":11,"mainColor":41},235347,"shan-shui-ce-zhang-fu-yang-235347","山水册","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[23,24,52,26,938,28,7,939,159,1070],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[472],{"id":1074,"slug":1075,"title":1076,"dynasty":18,"author":19,"museum":1077,"description":1078,"tags":1079,"thumbUrl":1081,"material":7,"size":1082,"collection":72,"collections":1083,"showCount":1047,"zanCount":11,"manualWeight":11,"mainColor":93},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[65,84,23,24,85,26,1080,7,28],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":1085,"slug":1086,"title":1087,"dynasty":80,"author":1088,"museum":62,"description":1089,"tags":1090,"thumbUrl":1093,"material":161,"size":162,"collection":72,"collections":1094,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":93},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[84,23,24,25,26,939,775,771,28,7,1091,1092],"仙山","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],30,{"id":1097,"slug":1098,"title":1099,"dynasty":153,"author":951,"museum":1100,"description":1101,"tags":1102,"thumbUrl":1103,"material":875,"size":1104,"collection":55,"collections":1105,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":93},241028,"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。",[28,7,25,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[55],{"id":1107,"slug":1108,"title":1109,"dynasty":18,"author":391,"museum":62,"description":1110,"tags":1111,"thumbUrl":1112,"material":161,"size":162,"collection":72,"collections":1113,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":93},241010,"chen-chun-shi-zhou-yi-ming-241010","陈淳诗轴","此作用笔纵恣奔逸，以狂草写就，线条苍劲老辣，干湿浓淡相映成趣。字间牵丝映带，大开大合，行气连贯畅达。章法错落疏朗，跌宕之间尽显不羁意气，笔力雄健洒脱，墨色燥润相生，枯笔见筋骨，湿墨显厚重。\n\n文人疏狂意趣藏于笔墨流转，通篇元气淋漓，尽显放旷恣肆的浪漫书风，笔墨间裹挟蓬勃抒怀张力，将诗意与书韵融为一体，尽展洒脱自在的心境。",[28,7,25,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f2b1f93dccb9d43ec488e6c4bd1cd.jpg",[],{"id":1115,"slug":1116,"title":1117,"dynasty":153,"author":1118,"museum":62,"description":1119,"tags":1120,"thumbUrl":1121,"material":72,"size":72,"collection":55,"collections":1122,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":41},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷","石涛","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。",[65,23,24,85,26,86,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[55],{"id":1124,"slug":1125,"title":1126,"dynasty":1127,"author":391,"museum":62,"description":1128,"tags":1129,"thumbUrl":1132,"material":72,"size":72,"collection":72,"collections":1133,"showCount":1095,"zanCount":11,"manualWeight":11,"mainColor":41},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","不详","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[65,85,24,469,1130,7,86,29,1131],"工笔","樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":130,"museum":62,"description":1138,"tags":1139,"thumbUrl":1140,"material":161,"size":162,"collection":72,"collections":1141,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},289362,"qian-hou-chi-bi-fu-zhu-yun-ming-289362","前后赤壁赋","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。",[28,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e70739fdc19eb7d6859a9c2816088dc.jpg",[],29,{"id":1144,"slug":1145,"title":1146,"dynasty":80,"author":1147,"museum":48,"description":1148,"tags":1149,"thumbUrl":1150,"material":103,"size":1151,"collection":55,"collections":1152,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","陈容","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[65,28,85,86,7,26,548,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纵31.1cm，横382.8cm",[55],{"id":1154,"slug":1155,"title":924,"dynasty":153,"author":154,"museum":62,"description":155,"tags":1156,"thumbUrl":1157,"material":161,"size":162,"collection":72,"collections":1158,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},237939,"za-hua-ce-zhu-da-237939",[23,24,52,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":18,"author":1163,"museum":62,"description":1164,"tags":1165,"thumbUrl":1172,"material":72,"size":72,"collection":72,"collections":1173,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","陶成","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[65,84,23,24,85,26,469,1166,86,7,29,1167,1168,1169,1170,1171,775],"写生","蔬果","白菜","草","菊","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":1175,"slug":1176,"title":1177,"dynasty":153,"author":391,"museum":62,"description":1178,"tags":1179,"thumbUrl":1194,"material":101,"size":1195,"collection":55,"collections":1196,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[65,84,23,24,85,26,939,1180,1181,1182,1183,1184,1185,1186,1187,7,705,1188,1189,1190,1191,1192,1193],"披麻皴","峰峦","茂林","修竹","村居","田庐","溪谷","浅滩","道家","隐逸","林泉高致","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","26x717",[55],{"id":1198,"slug":1199,"title":1200,"dynasty":18,"author":130,"museum":1201,"description":1202,"tags":1203,"thumbUrl":1204,"material":101,"size":1205,"collection":55,"collections":1206,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":93},222470,"ji-yang-deng-tai-bai-jiu-lou-que-ji-shi-hu-zhou-zhu-yun-ming-222470","济阳登太白酒楼却寄施湖州","贵州省博物馆","本书内容包括：《居延误死马驹册》、《永元兵器册》、《出师颂》、 、《 》、《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",[65,28,7,85,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[55],{"id":1208,"slug":1209,"title":1210,"dynasty":80,"author":234,"museum":283,"description":284,"tags":1211,"thumbUrl":1212,"material":173,"size":287,"collection":72,"collections":1213,"showCount":1142,"zanCount":11,"manualWeight":11,"mainColor":41},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段",[65,24,28,7,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg",[],{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":1219,"thumbUrl":1221,"material":161,"size":162,"collection":72,"collections":1222,"showCount":1223,"zanCount":11,"manualWeight":11,"mainColor":41},287674,"wang-wei-wu-yan-jue-ju-shi-dong-qi-chang-287674","王维五言绝句诗","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。",[24,28,7,25,29,1220],"古诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c7cefae226dbacdfcd6262b8c16b7c.jpg",[],28,{"id":1225,"slug":1226,"title":1227,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":1228,"thumbUrl":1229,"material":161,"size":162,"collection":72,"collections":1230,"showCount":1223,"zanCount":11,"manualWeight":11,"mainColor":41},283716,"yue-yang-lou-ji-juan-dong-qi-chang-283716","岳阳楼记卷",[65,24,28,7,85,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7182cea9aeb41db41936aa132160cec2.jpg",[],{"id":1232,"slug":1233,"title":1234,"dynasty":18,"author":870,"museum":48,"description":1235,"tags":1236,"thumbUrl":1237,"material":875,"size":1238,"collection":55,"collections":1239,"showCount":1223,"zanCount":11,"manualWeight":11,"mainColor":41},239997,"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。",[24,28,25,7,145,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afd1c41d607295f24bdd1eda9a61772.jpg","纵163.6厘米，横51.6厘米",[55],{"id":1241,"slug":1242,"title":1243,"dynasty":46,"author":520,"museum":62,"description":1244,"tags":1245,"thumbUrl":1246,"material":161,"size":162,"collection":72,"collections":1247,"showCount":1248,"zanCount":11,"manualWeight":11,"mainColor":41},287290,"ping-fu-tie-quan-juan-zhang-cao-lu-ji-287290","平复帖全卷章草","陆机（261年－303年），字士衡，吴郡吴县（今江苏省苏州市）人。西晋著名文学家、书法家。出身吴郡陆氏，为孙吴丞相陆逊之孙、大司马陆抗第四子，与其弟陆云合称“二陆”，又与顾荣、陆云并称“洛阳三俊”。\n陆机在孙吴时曾任牙门将，吴亡后出仕西晋，太康十年（289年），陆机兄弟来到洛阳，文才倾动一时，受太常张华赏识，此后名气大振。时有“二陆入洛，三张减价”之说。历任太傅祭酒、吴国郎中令、著作郎等职，与贾谧等结为“鲁公二十四友”。赵王司马伦掌权时，引为相国参军，封关中侯，于其篡位时受伪职。司马伦被诛后，险遭处死，赖成都王司马颖救免，此后便委身依之，为平原内史，世称“陆平原”。太安二年（303年），任后将军、河北大都督，率军讨伐长沙王司马乂，却大败于七里涧，最终遭谗遇害，被夷三族。\n陆机“少有奇才，文章冠世”，诗重藻绘排偶，骈文亦佳。与弟陆云俱为西晋著名文学家，被誉为“太康之英”。与潘岳同为西晋诗坛的代表，形成”太康诗风“，世有”潘江陆海“之称。陆机亦善书法，其《平复帖》是中古代存世最早的名人书法真迹。",[65,84,24,85,7,28,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02ab8ee1752eeb283ebf01aa1970883.jpg",[],27,{"id":1250,"slug":1251,"title":587,"dynasty":544,"author":545,"museum":48,"description":1252,"tags":1253,"thumbUrl":1254,"material":103,"size":591,"collection":55,"collections":1255,"showCount":1248,"zanCount":11,"manualWeight":11,"mainColor":41},239575,"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。",[65,28,7,29,1080,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec344d88b3dc1f7b96f45d8b8ae900.jpg",[55],{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":803,"museum":1260,"description":1261,"tags":1262,"thumbUrl":1263,"material":1264,"size":1265,"collection":72,"collections":1266,"showCount":1248,"zanCount":11,"manualWeight":11,"mainColor":93},222090,"zhang-cao-sun-guo-ting-shu-pu-ce-song-ke-222090","章草《孙过庭书谱册》","美国普林斯顿大学美术馆","宋克章草《孙过庭书谱册》，是赠送给他的好友俞孟京的，后未署书写年月，但纵观此册作品，熔楷、行、章草于一炉，笔力清劲健古，结字疏宕萧散，通篇千余字一气呵成，无一懈笔，真可谓于精到处见豪放，于细微中见功力，笔笔如入嫌素一般，令人叹为观止。\n元代末年,朱元璋在群雄中崛起,驱逐蒙元,建都南京,自洪武元年(1368)开创了明王朝。明代初期在书法上基本延袭了赵孟畹奈冉》绺,以三宋（宋璲、宋克、宋广）和二沈（沈度、沈粲）为代表的书家,除宋克的章草尚有一定特色之外,其他书家在创意上显得比较靡弱,尽管有几位书家在当时名声很大,特别是永乐宣德年间,沈度、沈粲兄弟二人因受到成祖皇帝宠遇,一时声名显赫,朝廷的重要文件都由此二人书写,于是竞相仿习,个性丧失殆尽,至明代中叶,吴中书家的崛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厘米 横925.5 厘米",[55],{"id":1392,"slug":1393,"title":1394,"dynasty":18,"author":130,"museum":20,"description":131,"tags":1395,"thumbUrl":1396,"material":35,"size":134,"collection":72,"collections":1397,"showCount":1356,"zanCount":11,"manualWeight":11,"mainColor":41},214553,"za-shu-shi-tie-juan-2-zhu-yun-ming-214553","杂书诗帖卷-2",[65,28,7,85,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c0cc921ec4eb0e988df91f919cb9d5.jpg",[],{"id":1399,"slug":1400,"title":1401,"dynasty":303,"author":1402,"museum":62,"description":1403,"tags":1404,"thumbUrl":1408,"material":161,"size":162,"collection":72,"collections":1409,"showCount":1410,"zanCount":137,"manualWeight":11,"mainColor":41},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[65,23,85,24,1405,1130,469,211,769,1406,1407,28,86,7,117],"界画","庭院","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],23,{"id":1412,"slug":1413,"title":1414,"dynasty":18,"author":130,"museum":1415,"description":1416,"tags":1417,"thumbUrl":1418,"material":72,"size":1419,"collection":72,"collections":1420,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":41},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","上海朵云轩","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[65,23,24,28,7,85,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":1422,"slug":1423,"title":1424,"dynasty":18,"author":130,"museum":1425,"description":1426,"tags":1427,"thumbUrl":1429,"material":101,"size":1430,"collection":55,"collections":1431,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":41},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","天津博物馆","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。",[65,28,7,86,85,1428,29],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[55],{"id":1433,"slug":1434,"title":1435,"dynasty":80,"author":234,"museum":62,"description":1436,"tags":1437,"thumbUrl":1438,"material":161,"size":162,"collection":72,"collections":1439,"showCount":1440,"zanCount":137,"manualWeight":11,"mainColor":41},290087,"zhu-shang-zuo-tie-juan-huang-ting-jian-290087","诸上座帖卷","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。",[65,84,24,28,7,85,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb24a160f22f01e860157984620e421.jpg",[],22,{"id":1442,"slug":1443,"title":782,"dynasty":80,"author":234,"museum":48,"description":783,"tags":1444,"thumbUrl":1445,"material":1446,"size":786,"collection":55,"collections":1447,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":93},239568,"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[65,84,23,24,85,28,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[55],{"id":1449,"slug":1450,"title":587,"dynasty":544,"author":545,"museum":62,"description":1451,"tags":1452,"thumbUrl":1453,"material":72,"size":72,"collection":72,"collections":1454,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":41},227270,"xia-re-tie-yang-ning-shi-227270","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《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。",[65,7,28,24,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":1456,"slug":1457,"title":1458,"dynasty":112,"author":327,"museum":62,"description":1459,"tags":1460,"thumbUrl":1462,"material":161,"size":162,"collection":72,"collections":1463,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":1465},288114,"fu-yi-jiao-jing-sun-guo-ting-288114","佛遗教经","孙过庭（646～691），名虔礼，以字行。杭州富阳（今属浙江）人，一作陈留（今河南开封）人。唐代书法家、书法理论家。\n孙过庭著《书谱》2卷，已佚。今存《书谱序》，分溯源流、辨书体、评名迹、述笔法、诫学者、伤知音6部分，文思缜密，言简意深，在古代书法理论史上占有重要地位。其中许多论点，如学书三阶段、创作中的五乖五合等，对后人仍有意义。有墨迹《书谱》传世。",[28,447,1461,7,29,51],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47c00928601abc1178dc70456928ad2.jpg",[],21,"FFFFFF",{"id":1467,"slug":1468,"title":1469,"dynasty":153,"author":1470,"museum":62,"description":1471,"tags":1472,"thumbUrl":1474,"material":101,"size":72,"collection":55,"collections":1475,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":41},241323,"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。",[24,28,145,86,117,768,425,7,26,101,29,1473],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[55],{"id":1477,"slug":1478,"title":1479,"dynasty":18,"author":1480,"museum":62,"description":1481,"tags":1482,"thumbUrl":1483,"material":101,"size":1484,"collection":55,"collections":1485,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":93},241027,"zhang-rui-tu-wu-jue-zhou-zhang-rui-tu-241027","张瑞图五绝轴","张瑞图","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。”",[28,86,7,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5f6bfdd672775f742fb91dad10f457.jpg","纵172.7厘米，横43.5厘米",[55],{"id":1487,"slug":1488,"title":1489,"dynasty":18,"author":1490,"museum":48,"description":1491,"tags":1492,"thumbUrl":1493,"material":1494,"size":1495,"collection":55,"collections":1496,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":41},240394,"shi-zhou-huang-dao-zhou-240394","诗轴","黄道周","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。",[28,25,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[55],{"id":1498,"slug":1499,"title":1500,"dynasty":153,"author":925,"museum":62,"description":1501,"tags":1502,"thumbUrl":1503,"material":161,"size":162,"collection":37,"collections":1504,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":366},237736,"hua-hui-tu-ce-huang-shen-237736","花卉图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,24,52,469,157,249,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6d3308e823ae3cb916c2c7fb98374a.jpg",[37],{"id":1506,"slug":1507,"title":1508,"dynasty":80,"author":234,"museum":62,"description":1509,"tags":1510,"thumbUrl":1511,"material":72,"size":72,"collection":72,"collections":1512,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":189},232789,"du-fu-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232789","杜甫诗三首（郁孤台法帖）","黄庭坚草书十分强调节奏韵律，注重笔法腕法，绫条沉着老辣，极富振荡感、立体感；在结字和章法上也有重大突破，形成独特风格——苍老跌宕。本帖中的山谷草书，精选于《宋拓郁孤台法帖》。在山谷传世书迹中，存有大量有阅佛门禅语之作，如《发愿文》、《华严疏》、《头陀赞》、《阴长生诗》、《诸上座帖》等，多为行楷体书写《诸上座帖》虽为大草，但经清梁清标鉴定为摹怀素书。故本帖中《香严袭灯大师智闲颂十九首》的传世，能使后学者在山谷的大草书中体悟浓烈的见性成佛，领略机锋迅捷的佛家三昧，为研究中国书法史上的特殊类型！！禅书，大开方便之门。此外，黄山谷书录杜甫诗的传世作品也十分罕见，台北「故宫博物院」尚有草书墨迹一件《寄贺兰恬》，而《郁孤台法帖》为我们保存了三首黄山谷草书杜甫诗《西郊》、《别李义》、《秦州杂诗》，弥足珍贵，因此也都收入此帖。",[999,28,7,184,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6585ab1cf3e1f3d9f4834771cb1893c.jpg",[],{"id":1514,"slug":1515,"title":1516,"dynasty":18,"author":870,"museum":1425,"description":1517,"tags":1518,"thumbUrl":1519,"material":101,"size":1520,"collection":55,"collections":1521,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":41},222534,"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。",[65,85,24,86,7,28,26,939,938,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[55],{"id":1523,"slug":1524,"title":1525,"dynasty":303,"author":1526,"museum":20,"description":1527,"tags":1528,"thumbUrl":1530,"material":7,"size":1531,"collection":72,"collections":1532,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":41},221687,"lun-zhang-xu-huai-su-gao-xian-xian-yu-shu-221687","论张旭怀素高闲","鲜于枢","与赵孟頫同时期的鲜于枢（公元1256—— 1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[28,7,1529,29,24,85],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg","38.4x60.6厘米",[],{"id":1534,"slug":1535,"title":1536,"dynasty":18,"author":130,"museum":20,"description":131,"tags":1537,"thumbUrl":1538,"material":35,"size":134,"collection":72,"collections":1539,"showCount":1464,"zanCount":11,"manualWeight":11,"mainColor":41},214551,"za-shu-shi-tie-juan-3-zhu-yun-ming-214551","杂书诗帖卷-3",[65,28,7,86,51,85,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F418c8cd04bcb84ee4f99025c18e4416d.jpg",[],{"id":1541,"slug":1542,"title":1543,"dynasty":153,"author":1544,"museum":62,"description":1545,"tags":1546,"thumbUrl":1548,"material":161,"size":162,"collection":72,"collections":1549,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":41},288636,"mi-fei-le-xiong-tie-ti-ba-shou-juan-wu-chang-shuo-288636","米芾乐兄帖题跋手卷","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”。\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》。",[28,85,86,7,26,1547,51,29],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5577c980b3bd7e5a286eb0bcfa8b5.jpg",[],20,{"id":1552,"slug":1553,"title":1554,"dynasty":153,"author":391,"museum":62,"description":1555,"tags":1556,"thumbUrl":1557,"material":161,"size":162,"collection":72,"collections":1558,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":41},288195,"su-shi-kuan-mo-zhu-tu-yi-ming-288195","苏轼款墨竹图","此作用焦墨挥写新篁，竹叶纵横交叠，笔力苍劲老辣，虚实相生，尽显劲节疏朗的萧散野逸之气。长卷以书画合璧，配搭多体书法题跋，狂草笔势跌宕，行书朴拙舒展，笔墨意趣与墨竹的写意精神呼应相融，暗合尚意风雅。整作层层题跋环绕，摹古宋人写意风神，将君子之竹的清刚品格与书法的抒情性融为一体，雄健中带着文人气韵，尽显文人画诗书画合一的意趣。",[65,84,23,24,85,26,7,86,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72aebd6ae8bd2874ca675986d007059a.jpg",[],{"id":1560,"slug":1561,"title":1562,"dynasty":18,"author":130,"museum":62,"description":1138,"tags":1563,"thumbUrl":1564,"material":161,"size":162,"collection":72,"collections":1565,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":41},288085,"chi-bi-fu-zhu-yun-ming-288085","赤壁赋",[28,7,24,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6278df7d7f9a3980fb8ed599a9e4f081.jpg",[],{"id":1567,"slug":1568,"title":1569,"dynasty":153,"author":154,"museum":62,"description":155,"tags":1570,"thumbUrl":1571,"material":161,"size":162,"collection":72,"collections":1572,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":41},241034,"qi-jue-zhou-zhu-da-241034","七绝轴",[28,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844541aac8286015d2904d784f12aec3.jpg",[],{"id":1574,"slug":1575,"title":1576,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":1578,"thumbUrl":1579,"material":161,"size":162,"collection":72,"collections":1580,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":93},240683,"fu-shan-shi-zhou-fu-shan-240683","傅山诗轴","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 ,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”。 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。",[28,7,25,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa8ec4484c6c382acea531848ded8fa.jpg",[],{"id":1582,"slug":1583,"title":1584,"dynasty":18,"author":870,"museum":48,"description":1585,"tags":1586,"thumbUrl":1587,"material":1588,"size":1589,"collection":55,"collections":1590,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":93},240055,"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。",[28,86,7,25,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a4de9797f05b0dfb4c001375ec5ef0.jpg","绫本，行书","纵186.1厘米，横51.9厘米",[55],{"id":1592,"slug":1593,"title":1594,"dynasty":18,"author":130,"museum":62,"description":1138,"tags":1595,"thumbUrl":1596,"material":72,"size":72,"collection":55,"collections":1597,"showCount":1550,"zanCount":137,"manualWeight":11,"mainColor":41},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷",[65,24,85,86,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[55],{"id":1599,"slug":1600,"title":1601,"dynasty":18,"author":130,"museum":20,"description":1377,"tags":1602,"thumbUrl":1603,"material":101,"size":1380,"collection":55,"collections":1604,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":41},222478,"shi-tie-bai-ma-pian-zhu-yun-ming-222478","诗帖《白马篇》",[65,84,23,24,85,7,51,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747861785a4e69632da691f06e6f31d3.jpg",[55],{"id":1606,"slug":1607,"title":1608,"dynasty":1127,"author":391,"museum":62,"description":1609,"tags":1610,"thumbUrl":1612,"material":161,"size":162,"collection":72,"collections":1613,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":41},287809,"wang-xi-zhi-chi-du-ji-yi-ming-287809","王羲之尺牘集","此作用笔灵动多变，中锋侧锋交替施为，起笔斩截与圆融兼具，收笔或出锋爽利，或回锋沉凝。线条粗细藏露相映，牵丝映带间字势顾盼生姿，行气舒朗又浑然一体。墨色枯润浓淡层次分明，燥笔见清劲筋骨，湿墨显腴润质感。字形欹侧错落，随文势自然生发，将问疾探友的真切心绪寄于笔端，不拘成法、随性率真，晋人尚韵的雅致风流尽在尺幅之间，日常尺牍的简率真挚与书法艺术的洒落风神融为一体。",[28,7,1611,51],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d7a0746673c92aec83ed0e040f4a.jpg",[],19,{"id":1616,"slug":1617,"title":1618,"dynasty":303,"author":444,"museum":62,"description":1619,"tags":1620,"thumbUrl":1622,"material":161,"size":162,"collection":72,"collections":1623,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":93},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[84,23,24,25,26,1171,159,1621,28,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":1625,"slug":1626,"title":1489,"dynasty":18,"author":1627,"museum":48,"description":1628,"tags":1629,"thumbUrl":1630,"material":101,"size":1631,"collection":55,"collections":1632,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":93},239988,"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。",[23,24,25,29,86,7,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[55],{"id":1634,"slug":1635,"title":1636,"dynasty":153,"author":1637,"museum":48,"description":1638,"tags":1639,"thumbUrl":1643,"material":1644,"size":1645,"collection":72,"collections":1646,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":41},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[65,84,23,24,85,26,938,86,7,28,29,939,1640,1641,774,773,1642,770,771],"山","水","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","纸本，设色","28.1×375厘米",[],{"id":1648,"slug":1649,"title":1650,"dynasty":153,"author":1651,"museum":62,"description":1652,"tags":1653,"thumbUrl":1655,"material":161,"size":162,"collection":72,"collections":1656,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":41},230265,"shu-fa-tiao-fu-lin-san-z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[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》。",[65,28,24,7,85,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[55],{"id":1699,"slug":1700,"title":1701,"dynasty":303,"author":1006,"museum":48,"description":1702,"tags":1703,"thumbUrl":1704,"material":72,"size":72,"collection":55,"collections":1705,"showCount":1672,"zanCount":11,"manualWeight":11,"mainColor":93},239574,"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。",[65,84,23,24,85,86,7,28,29,981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[55],{"id":1707,"slug":1708,"title":1709,"dynasty":18,"author":1710,"museum":48,"description":1711,"tags":1712,"thumbUrl":1715,"material":103,"size":1716,"collection":72,"collections":1717,"showCount":1672,"zanCount":11,"manualWeight":11,"mainColor":41},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","李白古风诗卷","王宠","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。”",[65,7,85,28,26,29,1713,1714,1640,1641],"明月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg","纵26.8厘米, 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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。",[65,806,28,24,85,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[55],{"id":1832,"slug":1833,"title":1834,"dynasty":18,"author":130,"museum":62,"description":1835,"tags":1836,"thumbUrl":1837,"material":72,"size":72,"collection":55,"collections":1838,"showCount":1813,"zanCount":11,"manualWeight":11,"mainColor":93},222473,"shou-juan-zhu-yun-ming-222473","手卷","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。\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。",[65,84,23,24,85,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[55],{"id":1840,"slug":1841,"title":1842,"dynasty":18,"author":1843,"museum":62,"description":1844,"tags":1845,"thumbUrl":1846,"material":184,"size":1847,"collection":72,"collections":1848,"showCount":1813,"zanCount":137,"manualWeight":11,"mainColor":189},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁","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。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[65,806,28,184,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":1850,"slug":1851,"title":1852,"dynasty":18,"author":1480,"museum":62,"description":1853,"tags":1854,"thumbUrl":1855,"material":72,"size":72,"collection":72,"collections":1856,"showCount":1813,"zanCount":11,"manualWeight":11,"mainColor":41},222052,"shu-su-shi-hou-chi-bi-fu-quan-juan-zhang-rui-tu-222052","书苏轼《后赤壁赋》全卷","本书是中国碑帖经典中的一册。收入了明代书法家张瑞图的草书《后赤壁赋》。该帖笔势矫键跌宕，锋芒凌厉，方笔多于圆笔，一扫元明俏媚之书风，虽未入神，已属不朽之作。\n该书印刷精美，较好地再现了原作，是书法爱好者的极佳范本。\n张瑞图 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、金马碧鸡老兵等。四川新都（今成都市新都区）人，祖籍庐陵。明代文学家、学者、官员，明代三才子之首，东阁大学士杨廷和之子。\n杨慎于明武宗正德六年（1511年）状元及第，授官翰林院修撰，参与编修《武宗实录》。武宗出居庸关时上疏抗谏。明世宗继位，复任翰林修撰兼经筵讲官。嘉靖三年（1524年）卷入“大礼议”事件，触怒世宗，被杖责罢官，谪戍云南永昌卫。在滇南时，曾率家奴助平寻甸安铨、武定凤朝文叛乱，此后虽往返于四川、云南等地，仍终老于永昌卫。嘉靖三十八年（1559年），在戍所逝世，享年七十二岁。明穆宗时追赠光禄寺少卿，明熹宗时追谥“文宪”。\n杨慎在滇南三十年，博览群书。后人论及明代记诵之博、著述之富，推杨慎为第一。其诗词曲各体皆备，自有一定的风格。其诗沉酣六朝，揽采晚唐，创为渊博靡丽之词，造诣深厚，独立于风气之外。而乐府首倡《花间》，影响隆、万以下风尚，同趋绮丽。著作达四百余种，涉及经史方志、天文地理、金石书画、音乐戏剧、宗教语言、民俗民族等，被后人辑为《升庵集》。",[28,145,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4964b08a105f4717314b26f01017e47a.jpg",[],{"id":2124,"slug":2125,"title":1489,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":2127,"thumbUrl":2128,"material":161,"size":162,"collection":72,"collections":2129,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":41},240891,"shi-zhou-ni-yuan-lu-240891","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[23,24,28,25,26,29,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":2131,"slug":2132,"title":2133,"dynasty":18,"author":2134,"museum":48,"description":2135,"tags":2136,"thumbUrl":2137,"material":1910,"size":2138,"collection":55,"collections":2139,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":41},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","刘珏","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。",[23,24,25,26,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[55],{"id":2141,"slug":2142,"title":2143,"dynasty":80,"author":2144,"museum":62,"description":2145,"tags":2146,"thumbUrl":2147,"material":72,"size":72,"collection":72,"collections":2148,"showCount":2097,"zanCount":125,"manualWeight":11,"mainColor":41},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[65,28,85,86,7,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":2150,"slug":2151,"title":2152,"dynasty":18,"author":803,"museum":48,"description":2153,"tags":2154,"thumbUrl":2156,"material":72,"size":72,"collection":55,"collections":2157,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":366},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[65,84,23,24,85,28,7,835,2155,29,51],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[55],{"id":2159,"slug":2160,"title":2161,"dynasty":153,"author":925,"museum":62,"description":1501,"tags":2162,"thumbUrl":2163,"material":161,"size":162,"collection":72,"collections":2164,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":41},235492,"huang-shen-shu-guo-tu-ce-huang-shen-235492","黄慎蔬果图册",[23,24,52,26,1167,29,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5349a4dd4a5275e082a367a3ed68a.jpg",[],{"id":2166,"slug":2167,"title":1066,"dynasty":18,"author":1067,"museum":62,"description":1068,"tags":2168,"thumbUrl":2170,"material":161,"size":162,"collection":72,"collections":2171,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":41},235354,"shan-shui-ce-zhang-fu-yang-235354",[23,24,52,26,939,7,29,938,773,1171,775,2169,211],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881b45a415a6b7ceebf1003120b8678b.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":2176,"museum":48,"description":2177,"tags":2178,"thumbUrl":2181,"material":1930,"size":72,"collection":72,"collections":2182,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":41},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[65,23,24,85,26,86,7,211,774,2179,158,939,2180,1547],"竹子","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":2184,"slug":2185,"title":2186,"dynasty":18,"author":130,"museum":62,"description":2187,"tags":2188,"thumbUrl":2189,"material":7,"size":2190,"collection":72,"collections":2191,"showCount":2097,"zanCount":11,"manualWeight":11,"mainColor":93},222467,"ji-kang-jiu-hui-shi-juan-zhu-yun-ming-222467","嵇康酒会诗卷","《嵇康酒会诗》释文：乐哉苑中游，周览无穷已。百卉吐芳华，崇台邈高峙。林木纷交错，玄池戏鲂鲤。轻丸毙翔禽，纤纶出鳞鲔。坐中发美赞，异气同音轨。临川献清酤，微歌发皓齿。素琴挥雅操，清声随风起。斯会岂不乐，恨无东野子。酒中念幽人，守故弥终始。但当体七弦，寄心在知己。\n祝允明的书法师承极为广博，因此他不仅能兼备数体，且皆能臻于精妙。传说祝允明63岁时，去沈则山亲家山庄，沈置酒席相待，饮至太阳落山，尚未觉酣，沈则山命家人设纸笔索书字或不同者六种，祝允明再三推辞不允，便乘酒兴书写了《六体诗赋卷》。\n祝允明此书仿钟繇、张旭、前人章草、苏轼、黄庭坚、赵孟頫六家书，写得维妙维肖出神入化，令主人非常高兴。可见其书法的师承极其广博，书艺范围与书法风格的功力之深，变化之多。\n根据祝允明的作品与文献著录，祝允明的书法在小楷、楷书、行楷、行书、行草、章草、今草、狂草诸书体上用功极深，都达到了很高的成就。由于他的书艺范围涉猎极其广泛，他所擅长的每一种书体中又都包含着多样的风格，故很难详尽而准确的进行分类。",[65,24,28,7,85,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7835d70f0b0182840118cae085e8f6e0.jpg","纵38cm，横122cm",[],{"id":2193,"slug":2194,"title":2195,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":2196,"thumbUrl":2197,"material":161,"size":162,"collection":72,"collections":2198,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},288351,"shuang-shou-shi-fu-shan-288351","双寿诗",[65,28,7,25,24,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38173c05563abfa6bed42f51dd9256.jpg",[],11,{"id":2201,"slug":2202,"title":2203,"dynasty":112,"author":421,"museum":62,"description":2204,"tags":2205,"thumbUrl":2206,"material":161,"size":162,"collection":72,"collections":2207,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":189},288121,"san-biao-zhen-ji-yan-zhen-qing-288121","三表真迹","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[28,184,51,86,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416ff3ec7fb86f01c67569da0a77ff26.jpg",[],{"id":2209,"slug":2210,"title":2211,"dynasty":18,"author":1480,"museum":62,"description":2212,"tags":2213,"thumbUrl":2214,"material":161,"size":162,"collection":72,"collections":2215,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},288019,"wang-wei-shi-jing-xin-zhang-rui-tu-288019","王维诗镜心","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[1918,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca2aa4d32e5721e791e5f26c2d58ecb.jpg",[],{"id":2217,"slug":2218,"title":2219,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":2220,"thumbUrl":2222,"material":161,"size":162,"collection":72,"collections":2223,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},283759,"shu-hua-he-bi-juan-dong-qi-chang-283759","书画合璧卷",[65,23,84,85,2221,26,1807,86,7,29,1808,1060,771,158,938],"书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fbcb8f4bdac99113b80ce2e8cf5f1a.jpg",[],{"id":2225,"slug":2226,"title":2227,"dynasty":153,"author":2228,"museum":62,"description":2229,"tags":2230,"thumbUrl":2233,"material":161,"size":162,"collection":72,"collections":2234,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},283626,"huang-shan-san-shi-liu-feng-tu-juan-mei-qing-283626","黄山三十六峰图卷","梅清","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[65,23,24,85,84,1807,26,469,938,86,7,28,29,2231,2232,775,942],"黄山","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8bad92c70028501261096bc6d435b4.jpg",[],{"id":2236,"slug":2237,"title":2238,"dynasty":153,"author":2239,"museum":62,"description":2240,"tags":2241,"thumbUrl":2246,"material":161,"size":162,"collection":72,"collections":2247,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},241061,"yi-men-ge-ti-shu-ji-shan-hua-he-juan-liu-wei-tan-241061","一门各体书及扇画合卷","刘位坦","清著名藏书家、书画家。字宽夫，号后园。顺天大兴（今属北京）人。道光五年（1825）拔贡生，咸丰元年（1851）以御史出守湖南辰州府，咸丰八年乞归。家收藏的碑帖拓本极富，典籍、金石、书画，无不收罗。后迁居孙承泽遗址，在城中广济寺建书室，因得到汉代河间献王刘德君子馆砖，遂名其居室为“君子馆砖馆”，又名“砖祖斋”又因所居孙退谷旧园后，作一联“君子馆砖馆，孙公园后园”。",[65,85,1918,24,117,86,7,768,425,1130,469,29,157,939,248,30,2242,249,2243,2244,1171,2245],"水仙","月季","兰","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0646519a86aa98f1749e23a2fe9d187d.jpg",[],{"id":2249,"slug":2250,"title":2251,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":2252,"thumbUrl":2253,"material":161,"size":162,"collection":72,"collections":2254,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},240895,"shi-ju-zhou-ni-yuan-lu-240895","诗句轴",[23,24,28,25,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b62d5770e8b24a955eeae11cc1c7f.jpg",[],{"id":2256,"slug":2257,"title":2258,"dynasty":153,"author":925,"museum":62,"description":926,"tags":2259,"thumbUrl":2261,"material":72,"size":72,"collection":37,"collections":2262,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},234266,"bie-you-feng-wei-ce-huang-shen-234266","别有风味册",[65,23,24,52,251,26,7,29,2260],"蔬菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[37],{"id":2264,"slug":2265,"title":2266,"dynasty":18,"author":870,"museum":181,"description":2267,"tags":2268,"thumbUrl":2269,"material":875,"size":2270,"collection":72,"collections":2271,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[65,7,85,28,29,26,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":2273,"slug":2274,"title":2275,"dynasty":18,"author":870,"museum":20,"description":872,"tags":2276,"thumbUrl":2277,"material":101,"size":2278,"collection":72,"collections":2279,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":93},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[65,28,24,85,7,86,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":2281,"slug":2282,"title":2283,"dynasty":18,"author":2284,"museum":20,"description":2285,"tags":2286,"thumbUrl":2287,"material":101,"size":2288,"collection":72,"collections":2289,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},222450,"lin-wang-xi-zhi-shi-qi-tie-zhu-da-you-222450","临王羲之十七帖","朱大有","朱大友，字伯亨，号二峰，号摩诃山农。云梯朱氏十一世孙，朱凤长子。生于正德十年，幼时聪惠过人。九岁时，有客人过访，以雪梅命题，大有曰：“舞六出之，奇占百花之魁。”客人击节叹赏。稍长入泮，闻理学名家邹守益在宁国讲学，徒步从之。任职南都时，有人欲行贿拉拢关系，大有正色曰：“士正谊明道，未及事君而挟欺以往，可孚？”固却之。时择选士子入贡（即可获得做官的资格），学使欲以大有为选，大有请曰：“葛某老且贫，生不愿先之，”竟让给葛先生。嘉靖甲午年（1534）复应贡选，遇疾，五月二十五日卒，年仅30岁。妻段氏，子四，长一桂，太学生，任玉山县丞。次一松，次一柏，次一梧，廪生。万历六年（1578）五月，大有以子一松贵，诰封朱大有《赠朱一松之父进奉政大夫》，曰：\n“通今学古，弗显其身，式谷贻谋，克昌厥后，尔子服官，郡贰行矩，茂宣歆佩，廷纶益弘家祚。”朱大有，列入清代《宁国县志·儒林传》",[65,28,145,7,52,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287850a66f6702476ad07f74508848d7.jpg","29.2×35.9cm",[],{"id":2291,"slug":2292,"title":2293,"dynasty":18,"author":1480,"museum":142,"description":2294,"tags":2295,"thumbUrl":2296,"material":101,"size":2297,"collection":55,"collections":2298,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},222058,"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。",[65,84,23,24,85,28,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[55],{"id":2300,"slug":2301,"title":2302,"dynasty":207,"author":208,"museum":62,"description":209,"tags":2303,"thumbUrl":2304,"material":35,"size":72,"collection":72,"collections":2305,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":41},218175,"da-qian-kuang-tu-ce-3-zhang-da-qian-218175","大千狂涂册-3",[23,24,52,26,86,7,29,211,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e51ba594586d298c5010c05bcacc27.jpg",[],{"id":2307,"slug":2308,"title":2309,"dynasty":303,"author":444,"museum":222,"description":2310,"tags":2311,"thumbUrl":2313,"material":72,"size":72,"collection":72,"collections":2314,"showCount":2199,"zanCount":11,"manualWeight":11,"mainColor":2315},202543,"zhu-pu-tu-juan-wu-zhen-202543","竹谱图卷","墨竹劲挺，尽显文人风骨。此卷以中锋运笔写竹，竹叶如行书撇捺，“个”“人”字形错落，墨色浓淡相间，竹竿挺拔含节，苍劲中见洒脱。山石以淡墨皴擦，与劲竹相映，疏密有致，藏自然生机。卷中题跋满纸，书法与绘事浑然相融，行书流畅、草书洒脱，衬得墨竹更添文气。笔墨间承“书画同源”之旨，清逸高古，寄托画家的文人品格，观之如沐清风，尽得竹之神韵与画者情怀。",[23,24,85,26,1171,86,7,938,2312],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6b2b8ed0903a30d6f654b33b2a13fd.jpg",[],"bdb2a0",{"id":2317,"slug":2318,"title":2103,"dynasty":153,"author":1637,"museum":62,"description":2319,"tags":2320,"thumbUrl":2321,"material":161,"size":162,"collection":72,"collections":2322,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},290453,"shou-zha-kun-can-290453","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。",[65,28,7,2103,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6fca392bce01d411635018e57946d.jpg",[],10,{"id":2325,"slug":2326,"title":2327,"dynasty":303,"author":304,"museum":62,"description":2328,"tags":2329,"thumbUrl":2331,"material":161,"size":162,"collection":72,"collections":2332,"showCount":2323,"zanCount":11,"manualWeight":11,"main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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》。",[23,24,28,25,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[55],{"id":2368,"slug":2369,"title":2370,"dynasty":18,"author":2118,"museum":62,"description":2371,"tags":2372,"thumbUrl":2374,"material":101,"size":72,"collection":55,"collections":2375,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},240927,"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","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。",[65,117,86,425,768,7,28,447,85,51,184,29,2373,145,118],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[55],{"id":2377,"slug":2378,"title":1489,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":2379,"thumbUrl":2380,"material":161,"size":162,"collection":72,"collections":2381,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},240447,"shi-zhou-ni-yuan-lu-240447",[24,28,25,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":153,"author":1118,"museum":48,"description":2386,"tags":2387,"thumbUrl":2392,"material":72,"size":72,"collection":55,"collections":2393,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},240037,"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","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[24,28,511,86,7,26,101,29,2388,2389,1428,2390,2391],"文字","诗","毛笔","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[55],{"id":2395,"slug":2396,"title":2397,"dynasty":18,"author":2398,"museum":62,"description":2399,"tags":2400,"thumbUrl":2401,"material":72,"size":72,"collection":55,"collections":2402,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},239946,"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）",[23,24,25,86,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[55],{"id":2404,"slug":2405,"title":2406,"dynasty":18,"author":2407,"museum":48,"description":2408,"tags":2409,"thumbUrl":2410,"material":101,"size":2411,"collection":55,"collections":2412,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},239907,"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。",[28,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd142a395bcfd4ebb2dccc5c72d75f478.jpg","纵113.5厘米，横28.3厘米",[55],{"id":2414,"slug":2415,"title":2416,"dynasty":303,"author":1330,"museum":48,"description":2417,"tags":2418,"thumbUrl":2419,"material":101,"size":2420,"collection":72,"collections":2421,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},231562,"lin-shi-qi-tie-ye-kang-li-nao-nao-231562","临十七帖页","释文：\n严君平、司马相如、杨子云皆有后不？胡母氏从妹平安，故在永兴居去此七十也。吾在官诸理极差，顷比复勿来示云与其婢问来信不得也。\n吾有七儿一女，皆同生，婚娶以毕，唯一少者尚未婚耳。过此一婚，便得至彼，今内外孙有十六人，足慰目前，足下情至委屈，故具示。\n云谯周有孙，高尚不出。今为所在，其人有以副此志不？令人依依，足下具示。\n此有汉时讲堂在，是汉何帝时立此？知画三皇五帝以来备有，画又精妙，甚可观也。彼有能画者不，欲因摹取，当可得不？信具告。\n诸从并数有问，粗平安。唯修载在远，音问不数，悬情。司州疾笃，不果西公，私可恨。足下所云，皆尽事势，吾无间然，诸问想足下别具，不复一一。（后楷书小字）去岁在上都时所临，殊未能得其万一耳。康里巎记。\n下钤“子山”朱文印。帖前楷书题签“康里承旨巎”。无题跋。鉴藏印钤清宋犖“宋犖审定”一方。\n《临十七帖》是康里巎巎节临晋代王羲之草书《十七帖》中的五帖。此帖为淡蓝色纸本，纸质坚凝，字体修长，笔画遒媚，转折流便，技艺娴熟，于迅疾的书写中既体现出王羲之草书的秀媚洒脱，又不失临者本人的稳健风格。",[65,28,145,7,52,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbd4da4eff6d76ce89c6113a9b0dec8.jpg","纵28.5厘米，横42.6厘米、48.8厘米",[],{"id":2423,"slug":2424,"title":2425,"dynasty":303,"author":2426,"museum":62,"description":2427,"tags":2428,"thumbUrl":2429,"material":72,"size":72,"collection":72,"collections":2430,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","邓文原","《章草急就章等》，是 28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[65,28,145,85,7,29,2373,51,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":2432,"slug":2433,"title":337,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":2434,"thumbUrl":2436,"material":161,"size":162,"collection":72,"collections":2437,"showCount":2323,"zanCount":11,"manualWeight":11,"mainColor":41},224288,"qian-zi-wen-fu-shan-224288",[65,28,7,85,24,2435,29,118,51],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":2439,"slug":2440,"title":2441,"dynasty":18,"author":1710,"museum":62,"description":2344,"tags":2442,"thumbUrl":2443,"material":161,"size":162,"collection":72,"collections":2444,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},288086,"xi-yuan-shi-juan-wang-chong-288086","西苑诗卷",[28,7,24,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0131ddf7ce1c94c87716076e2a2fd047.jpg",[],9,{"id":2447,"slug":2448,"title":2449,"dynasty":18,"author":391,"museum":62,"description":2450,"tags":2451,"thumbUrl":2452,"material":161,"size":162,"collection":72,"collections":2453,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},288077,"ming-dai-shu-fa-shan-mian-ji-zhen-yi-ming-288077","明代书法扇面集(帧)","此作为泥金扇面，墨色在金笺上愈发浓妍醒目。起笔行书圆融舒展，渐转草书，欹正相生，牵丝映带自然流畅，提转顿挫间尽显遒劲力道，将行草灵动与法度平衡得恰到好处。文字排布依随扇骨走势，疏密错落，气韵贯通首尾。墨色浓淡微妙变化，于尺幅小景中铺陈萧散放达的书卷意趣，尽显晚明书法尚态重情的典型风貌，是一件兼具笔墨意趣与形制美感的文人小品佳作。",[65,1918,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F429545c799c68e031cc5c5b0a37c062b.jpg",[],{"id":2455,"slug":2456,"title":2457,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":2458,"thumbUrl":2460,"material":161,"size":162,"collection":72,"collections":2461,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[65,84,23,85,2221,469,939,1808,1060,2459,7,28,29],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],{"id":2463,"slug":2464,"title":2465,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":2466,"thumbUrl":2467,"material":161,"size":162,"collection":72,"collections":2468,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":93},241367,"zhou-ni-yuan-lu-241367","轴",[24,28,86,7,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aeda136172becd0096afcf5c01aea24.jpg",[],{"id":2470,"slug":2471,"title":2472,"dynasty":18,"author":2473,"museum":62,"description":2474,"tags":2475,"thumbUrl":2476,"material":101,"size":72,"collection":55,"collections":2477,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},241025,"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。",[23,24,25,7,26,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[55],{"id":2479,"slug":2480,"title":2481,"dynasty":18,"author":2482,"museum":62,"description":2483,"tags":2484,"thumbUrl":2485,"material":161,"size":162,"collection":72,"collections":2486,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},240871,"lin-wang-xian-zhi-tie-zhou-song-cao-240871","临王献之帖轴","宋曹","宋曹（1620-1701），字彬臣， 号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[28,7,25,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a389b7bd264016e98b3679d321c074.jpg",[],{"id":2488,"slug":2489,"title":2490,"dynasty":18,"author":1490,"museum":62,"description":2491,"tags":2492,"thumbUrl":2493,"material":161,"size":162,"collection":72,"collections":2494,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},240665,"xi-yu-shi-zhou-huang-dao-zhou-240665","喜雨诗轴","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。",[28,25,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f1eaae06e354913d23f45008cacc60.jpg",[],{"id":2496,"slug":2497,"title":2498,"dynasty":18,"author":1684,"museum":48,"description":2499,"tags":2500,"thumbUrl":2501,"material":101,"size":2502,"collection":55,"collections":2503,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},240390,"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。",[23,24,25,26,145,29,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[55],{"id":2505,"slug":2506,"title":2161,"dynasty":153,"author":925,"museum":62,"description":1501,"tags":2507,"thumbUrl":2509,"material":161,"size":162,"collection":72,"collections":2510,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},235485,"huang-shen-shu-guo-tu-ce-huang-shen-235485",[23,24,52,26,469,7,29,1167,2508],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488974dab97e661db746f88c4de6b5e5.jpg",[],{"id":2512,"slug":2513,"title":2514,"dynasty":18,"author":2515,"museum":48,"description":2516,"tags":2517,"thumbUrl":2520,"material":1644,"size":72,"collection":72,"collections":2521,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},234237,"mei-hua-tu-juan-shu-jun-su-234237","梅花图卷","殳君素","殳君素，晚明画家。字质夫，江苏苏州人；师文嘉、钱谷，为入室弟子，有出蓝之美。古人涉山观水，常倚靠一根简便竹杖。因此，“携杖”几乎是中国文人山水画中高士、隐者的动作“标配”。",[65,23,24,85,26,86,7,29,981,2518,1030,2519,159],"老树","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9fb05d15f30782dc4a115340379934.jpg",[],{"id":2523,"slug":2524,"title":2525,"dynasty":153,"author":2526,"museum":62,"description":2527,"tags":2528,"thumbUrl":2529,"material":1644,"size":72,"collection":72,"collections":2530,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[65,23,24,85,26,251,211,1171,774,29,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":2532,"slug":2533,"title":2534,"dynasty":153,"author":925,"museum":62,"description":2535,"tags":2536,"thumbUrl":2537,"material":72,"size":72,"collection":72,"collections":2538,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},230888,"hua-hui-tu-huang-shen-230888","花卉图","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[65,23,24,85,26,86,7,28,29,157,212,248,2242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":2540,"slug":2541,"title":25,"dynasty":18,"author":1627,"museum":62,"description":2542,"tags":2543,"thumbUrl":2544,"material":72,"size":72,"collection":72,"collections":2545,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":93},228768,"li-zhou-ni-yuan-lu-228768","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[65,28,86,7,25,29,225,2390,806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":2547,"slug":2548,"title":2549,"dynasty":46,"author":47,"museum":62,"description":1315,"tags":2550,"thumbUrl":2552,"material":161,"size":162,"collection":72,"collections":2553,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":93},227055,"wu-gang-tie-wang-xi-zhi-227055","武冈帖",[2551,28,7,184,52],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f96d3efea2032c08ab369d9bde6808b.jpg",[],{"id":2555,"slug":2556,"title":2557,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":2558,"thumbUrl":2559,"material":161,"size":162,"collection":72,"collections":2560,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},224287,"lin-ge-tie-fu-shan-224287","临阁帖",[65,28,7,145,25,29,2435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],{"id":2562,"slug":2563,"title":1916,"dynasty":18,"author":764,"museum":62,"description":2564,"tags":2565,"thumbUrl":2566,"material":101,"size":2567,"collection":72,"collections":2568,"showCount":2445,"zanCount":11,"manualWeight":11,"mainColor":41},222551,"shu-shan-ye-chen-chun-222551","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[65,1918,28,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045f225745b34c41869dde4bad7afc52.jpg","38x53厘米",[],{"id":2570,"slug":2571,"title":2572,"dynasty":303,"author":304,"museum":62,"description":2573,"tags":2574,"thumbUrl":2575,"material":161,"size":162,"collection":72,"collections":2576,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":93},290281,"lin-shi-qi-tie-ce-ye-zhao-meng-fu-290281","临十七帖册页","赵孟頫[fǔ]（1254年10月20日－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。",[65,28,7,2330,145,51,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6c0579f6cad2d48f0b693cac2c2db4.jpg",[],8,{"id":2579,"slug":2580,"title":2581,"dynasty":1127,"author":2582,"museum":62,"description":2583,"tags":2584,"thumbUrl":2585,"material":161,"size":162,"collection":72,"collections":2586,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","藤原行成","藤原行成（天禄3年（972年） 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万寿4年12月4日（1028年1月3日））是平安时代中期的朝臣。一条帝时代四纳言之一。右少将藤原义孝的儿子，藤原伊尹之孙。官居正二位・权大纳言。",[65,28,85,86,7,51,24,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc84d6d4ca382e5d03097722f6b8b9.jpg",[],{"id":2588,"slug":2589,"title":2590,"dynasty":18,"author":1710,"museum":62,"description":2344,"tags":2591,"thumbUrl":2592,"material":161,"size":162,"collection":72,"collections":2593,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},288147,"za-shi-wang-chong-288147","杂诗",[24,28,7,29,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cac1a244ef583f42d715441342a509.jpg",[],{"id":2595,"slug":2596,"title":2597,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":2598,"thumbUrl":2601,"material":161,"size":162,"collection":72,"collections":2602,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图",[65,23,84,24,85,26,157,28,7,2599,2600,1171,2245],"墨梅","墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":2604,"slug":2605,"title":2606,"dynasty":18,"author":2607,"museum":62,"description":2608,"tags":2609,"thumbUrl":2610,"material":161,"size":162,"collection":72,"collections":2611,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[65,23,85,24,939,469,1130,28,7,86,29,770,771,772,158,769,773,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":2613,"slug":2614,"title":2615,"dynasty":153,"author":2616,"museum":62,"description":2617,"tags":2618,"thumbUrl":2619,"material":161,"size":162,"collection":72,"collections":2620,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},241302,"lin-huai-su-zi-xu-tie-juan-li-yu-wu-241302","临怀素自序帖卷","李禦侮","此作用笔纵逸奔放，追摹怀素狂草风神。线条瘦劲圆转，提按顿挫间尽显使转灵动，将狂草抒情性挥洒至极。布局上字势奇崛错落，大小、欹正、疏密随文势铺展，毫无滞涩之感。墨色枯湿浓淡交叠，枯笔飞白苍劲老辣，重墨处酣畅饱满。\n\n通篇气韵贯通如江河奔涌，既有怀素的颠逸之态，又暗含自家笔底筋骨，把草书肆意洒脱的意境诠释得淋漓尽致，尽显书写时的激越心绪，是极具表现力的临古佳制。",[24,28,85,145,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07915226750c7616c8643d7517b5b9a.jpg",[],{"id":2622,"slug":2623,"title":2624,"dynasty":18,"author":2625,"museum":62,"description":2626,"tags":2627,"thumbUrl":2628,"material":101,"size":72,"collection":55,"collections":2629,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":93},241226,"qi-yan-shi-zhou-yang-ke-241226","七言诗轴","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",[28,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae98d327c042b6301f8d7819abc15ae.jpg",[55],{"id":2631,"slug":2632,"title":1569,"dynasty":18,"author":2633,"museum":62,"description":2634,"tags":2635,"thumbUrl":2636,"material":101,"size":72,"collection":55,"collections":2637,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":93},241224,"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。”",[806,28,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81119615b7f2121a5edafd8a8c595e6d.jpg",[55],{"id":2639,"slug":2640,"title":2641,"dynasty":18,"author":2642,"museum":62,"description":2643,"tags":2644,"thumbUrl":2645,"material":101,"size":72,"collection":55,"collections":2646,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},241217,"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。",[23,24,25,7,28,29,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[55],{"id":2648,"slug":2649,"title":1871,"dynasty":153,"author":870,"museum":62,"description":2650,"tags":2651,"thumbUrl":2652,"material":161,"size":162,"collection":72,"collections":2653,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":93},240828,"wang-duo-lin-tie-zhou-wang-duo-240828","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。",[24,28,25,145,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":2655,"slug":2656,"title":1322,"dynasty":18,"author":19,"museum":62,"description":989,"tags":2657,"thumbUrl":2658,"material":161,"size":162,"collection":72,"collections":2659,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},240589,"za-ji-shu-zha-he-ce-xu-wei-240589",[28,86,7,29,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9bccd7ee789c6e2f272f962ddd3564.jpg",[],{"id":2661,"slug":2662,"title":2663,"dynasty":153,"author":870,"museum":62,"description":2650,"tags":2664,"thumbUrl":2668,"material":161,"size":162,"collection":72,"collections":2669,"showCount":2577,"zanCount":11,"manualWeight":11,"mainColor":41},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷",[65,28,86,7,85,29,26,1640,1641,2027,2665,2666,2667,981,1171,1170],"月","石","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":2671,"slug":2672,"title":2673,"dynasty":153,"author":1637,"museum":48,"description":2319,"tags":2674,"thumbUrl":2675,"material":72,"size":72,"collection":55,"collections":2676,"showCount":2577,"zanCount":11,"manualWeight":1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，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）。 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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”",[23,24,28,25,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[55],{"id":3063,"slug":3064,"title":3065,"dynasty":18,"author":130,"museum":48,"description":3066,"tags":3067,"thumbUrl":3068,"material":2808,"size":72,"collection":55,"collections":3069,"showCount":2946,"zanCount":11,"manualWeight":11,"mainColor":366},240702,"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。",[65,84,23,24,85,28,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[55],{"id":3071,"slug":3072,"title":3073,"dynasty":18,"author":3074,"museum":62,"description":3075,"tags":3076,"thumbUrl":3077,"material":101,"size":72,"collection":55,"collections":3078,"showCount":2946,"zanCount":11,"manualWeight":11,"mainColor":93},240440,"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。",[28,25,86,7,117,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e78b38cee032c3940cdd54e40d21fa2.jpg",[55],{"id":3080,"slug":3081,"title":3082,"dynasty":153,"author":951,"museum":48,"description":3083,"tags":3084,"thumbUrl":3085,"material":3086,"size":3087,"collection":55,"collections":3088,"showCount":2946,"zanCount":11,"manualWeight":11,"mainColor":41},240063,"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。",[65,85,28,145,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 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倔狂逸风貌颇為相似，共同在钟王之外另闢蹊径。（清）粱巘在《评书帖》中即指出：“明季书学竞尚柔媚，王（鐸）张（瑞图）二家力矫积习，独标气骨，虽末入神，自足下朽。”杨守敬也认為张氏“顾其流传书法，风骨高騫，与倪鸿宝（元璐）、黄石斋（道周）伯仲。”([清]杨守敬跋张瑞图《前赤壁赋》)张瑞图之名不列入风格相伯仲的倪、黄、王流派之中，却与蹊径迥异的邢、米、董并称，这也是很特殊的现象，其书风与诸家必然存在同中之异或异中之同的复杂关係。因此，探讨张瑞图其人其书的特殊性是饶有意趣的问题。",[65,84,23,24,85,7,28,29,118,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0547e44eabdf5188bbea689e294c99af.jpg","27X923",[],{"id":3171,"slug":3172,"title":3173,"dynasty":153,"author":465,"museum":62,"description":979,"tags":3174,"thumbUrl":3175,"material":161,"size":162,"collection":72,"collections":3176,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":93},290462,"mo-hua-tu-ce-gao-feng-han-290462","墨花图册",[28,7,52,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd41be7af0a25b0eab34d847edd0a221.jpg",[],5,{"id":3179,"slug":3180,"title":3181,"dynasty":18,"author":870,"museum":62,"description":2650,"tags":3182,"thumbUrl":3184,"material":161,"size":162,"collection":72,"collections":3185,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":41},287791,"shi-juan-yuan-gao-wang-duo-287791","诗卷原稿",[65,28,7,85,26,24,3183],"诗卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1091973c52b34c238561cd59f46561a.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":1127,"author":391,"museum":62,"description":3190,"tags":3191,"thumbUrl":3192,"material":161,"size":162,"collection":72,"collections":3193,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":1465},287710,"kong-hai-feng-xin-tie-yi-ming-287710","空海风信帖","这幅行书尺牍，笔墨写意随性。右侧题字清劲爽利，字形舒展萧散，左侧落款行气圆融连贯，线条牵丝映带尽显书写时的流走心境。整体章法疏宕空灵，留白与墨痕相映成趣，没有刻意的经营排布，将日常尺牍的平实化作清雅的笔墨意趣。\n\n淡旧的笺纸衬着苍逸笔锋，墨色浓淡自然晕开，褪去了雕琢匠气，漫溢出文人日常书写的松弛质感，将寻常的问安之语，酿成了兼具实用与审美意趣的书法小品。",[28,7,25,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932aee71ad0a06612993447c09eb9281.jpg",[],{"id":3195,"slug":3196,"title":3197,"dynasty":18,"author":870,"museum":62,"description":2650,"tags":3198,"thumbUrl":3199,"material":161,"size":162,"collection":72,"collections":3200,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":41},287638,"luo-han-tu-wang-duo-287638","罗汉图",[65,23,85,24,26,211,2984,2985,7,29,942,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dcd780c5979c6e8348cfda76f12e4d9.jpg",[],{"id":3202,"slug":3203,"title":337,"dynasty":18,"author":479,"museum":62,"description":2110,"tags":3204,"thumbUrl":3205,"material":161,"size":162,"collection":72,"collections":3206,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":41},287528,"qian-zi-wen-zhang-bi-287528",[7,28,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d02b86f2575edcc6c015ca2157b1c.jpg",[],{"id":3208,"slug":3209,"title":3210,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":3211,"thumbUrl":3212,"material":161,"size":162,"collection":72,"collections":3213,"showCount":3177,"zanCount":137,"manualWeight":11,"mainColor":41},283705,"za-shu-juan-dong-qi-chang-283705","杂书卷",[65,28,85,86,7,29,51,1547,1053,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4135193a2c14313b4b29f85c0717d9a.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":18,"author":870,"museum":62,"description":2650,"tags":3218,"thumbUrl":3219,"material":161,"size":162,"collection":72,"collections":3220,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":41},283661,"cao-shu-shi-juan-wang-duo-283661","草书诗卷",[65,84,23,24,85,26,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2ad589fd933d546d24f029553a8414.jpg",[],{"id":3222,"slug":3223,"title":988,"dynasty":153,"author":925,"museum":62,"description":1501,"tags":3224,"thumbUrl":3225,"material":161,"size":162,"collection":72,"collections":3226,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":41},241414,"qi-lv-zhou-huang-shen-241414",[28,25,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9828e5aac72ecb8c1dd3dbb0eee4e13b.jpg",[],{"id":3228,"slug":3229,"title":2836,"dynasty":18,"author":3230,"museum":62,"description":3231,"tags":3232,"thumbUrl":3233,"material":161,"size":162,"collection":72,"collections":3234,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":366},241342,"lin-tie-zhou-xing-ci-jing-241342","邢慈静","邢慈静(1572或1573~？)，明代万历年间人，号蒲团主人、兰雪斋主，山东临邑人，明代著名书法家邢侗胞妹。她自幼聪慧，悟性超群，工书法，善绘画，尤精白描观音，博学多才，深受世人的喜爱。邢慈静幼年受九嫂杨氏（杨梦山之妹）影响学习律诗，青年时代受长兄邢侗影响学习书法绘画，晚年临摹《澄清堂帖》，深得右军神韵。",[28,145,7,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdaf6bca0798ee3a0160e670b749dfb.jpg",[],{"id":3236,"slug":3237,"title":3238,"dynasty":18,"author":3239,"museum":62,"description":3240,"tags":3241,"thumbUrl":3242,"material":161,"size":162,"collection":72,"collections":3243,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":93},241141,"cao-shu-shi-zhou-tu-long-241141","草书诗轴","屠隆","屠倬（1781—1828），清代官吏、诗人、篆刻家。字孟昭，号琴邬，晚号潜园老人，浙江诸暨紫岩乡六十都（今诸暨市店口镇琴隖村）人，寄居钱塘。一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[28,7,806,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1262b01f65a82407c5ee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字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 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墨的欢快跳动。再次是王铎采用间距密集、行距宽疏的方法，由此形成对比，一密一疏的方法也在某种程度上强化了它的形式效果。当然在观赏中最为让人心旌摇荡的还是王铎书法线条的遒劲有力的质感，给人以入木三分的效果。梁章钜在本册跋中说：“孟津书法雄伟，足以推倒流辈，而间有习气未除。此卷则神动天随，几于化矣。吾乡张二水有其雄伟而飞舞逊此一筹，要皆为艺林绝技也。”他将此册的特点归结于雄伟飞舞，亦可谓一家之言。",[65,84,23,24,52,26,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94ddfd0d8241ef37d8c17bf3248ff3f0.jpg",[],{"id":3382,"slug":3383,"title":3384,"dynasty":18,"author":1480,"museum":222,"description":3385,"tags":3386,"thumbUrl":3387,"material":2808,"size":3388,"collection":72,"collections":3389,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":93},222061,"shu-du-fu-shi-ce-zhang-rui-tu-222061","书杜甫诗册","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。",[65,28,7,85,29,2435,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790296e55478b6d33a8f5b4c7e57d62.jpg","194.3cm*60.8cm",[],{"id":3391,"slug":3392,"title":3393,"dynasty":18,"author":391,"museum":222,"description":3394,"tags":3395,"thumbUrl":3396,"material":72,"size":72,"collection":72,"collections":3397,"showCount":3177,"zanCount":11,"manualWeight":11,"mainColor":3398},202644,"ming-ren-hua-xu-wei-xiao-xiang-yi-ming-202644","明人画徐渭小像","这幅作品以徐渭肖像为核心，四周环绕历代题跋，书画交融尽显文人意趣。肖像笔墨简练传神，线条精准勾勒人物神态，兼具工致与写意之妙；环绕的题跋书体多样，行书流畅婉转、草书奔放纵逸，文字间满是对徐渭才学的推崇与感怀。整作融肖像与书法于一体，既是对徐渭形象的生动定格，也承载着后世文人的精神对话，凸显传统文人艺术的深厚底蕴。",[23,24,211,86,7,1130,26,2312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54131be9d066bac1b695dd819bebde19.jpg",[],"cfba9e",{"id":3400,"slug":3401,"title":3402,"dynasty":153,"author":3403,"museum":62,"description":3404,"tags":3405,"thumbUrl":3407,"material":161,"size":162,"collection":72,"collections":3408,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},290383,"fang-song-yuan-fen-ben-liu-duan-tu-juan-wang-chen-290383","仿宋元粉本六段图卷","王宸","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[65,23,85,24,26,1807,145,938,1808,1060,3406,771,772,86,7,29],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f622e0ac77dfbb37d52721ef0eca45.jpg",[],{"id":3410,"slug":3411,"title":3412,"dynasty":153,"author":391,"museum":62,"description":3413,"tags":3414,"thumbUrl":3416,"material":161,"size":162,"collection":72,"collections":3417,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[65,84,23,24,85,26,939,28,86,7,29,3415,1808,1547],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":3419,"slug":3420,"title":3421,"dynasty":18,"author":130,"museum":62,"description":1138,"tags":3422,"thumbUrl":3423,"material":161,"size":162,"collection":72,"collections":3424,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},288148,"qiong-lin-yu-shu-tu-ge-zhu-yun-ming-288148","琼林玉树图歌",[28,7,29,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a674e8a6ec783a78dbaaa908994e87.jpg",[],{"id":3426,"slug":3427,"title":3428,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":3429,"thumbUrl":3430,"material":161,"size":162,"collection":72,"collections":3431,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},288096,"zuo-ri-tie-fu-shan-288096","昨日帖",[28,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839e90d7b111d489e02cb9a869743b4d.jpg",[],{"id":3433,"slug":3434,"title":3435,"dynasty":18,"author":2176,"museum":62,"description":3436,"tags":3437,"thumbUrl":3441,"material":161,"size":162,"collection":72,"collections":3442,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},288068,"yu-le-tu-zhou-chen-288068","渔乐图","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[65,23,85,26,469,211,939,772,771,3438,7,28,3439,3103,1041,3440,2029],"渔乐","渔村","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":3444,"slug":3445,"title":3446,"dynasty":18,"author":870,"museum":62,"description":2650,"tags":3447,"thumbUrl":3448,"material":161,"size":162,"collection":72,"collections":3449,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":189},287946,"ku-lan-fu-hua-tu-wang-duo-287946","枯兰复花图",[65,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd20ba3a5931e74d2b81be473224c70.jpg",[],{"id":3451,"slug":3452,"title":3453,"dynasty":18,"author":870,"museum":62,"description":2650,"tags":3454,"thumbUrl":3455,"material":161,"size":162,"collection":72,"collections":3456,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},287855,"ku-lan-fu-hua-tu-juan-wang-duo-287855","枯兰复花图卷",[24,28,7,85,29,2373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4537a841109c605bd25033feed436515.jpg",[],{"id":3458,"slug":3459,"title":3460,"dynasty":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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[28,184,51,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de95ff75c6e202033ddf149ce134b61.jpg",[],{"id":3472,"slug":3473,"title":3474,"dynasty":18,"author":3475,"museum":62,"description":3476,"tags":3477,"thumbUrl":3479,"material":161,"size":162,"collection":72,"collections":3480,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},241453,"di-zan-wang-jiu-si-yang-shen-deng-liu-jia-zha-juan-lv-nan-241453","翟瓉王九思杨慎等六家札卷","吕柟","吕柟（1479年－1542年），字大棟，又字仲木，别号泾野，学者称泾野先生，陕西高陵县人，明代官員、學者。",[28,85,86,7,548,2103,3478,29],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb580093547ef401bf06a4b939d6a400e.jpg",[],{"id":3482,"slug":3483,"title":3484,"dynasty":18,"author":1627,"museum":62,"description":2126,"tags":3485,"thumbUrl":3486,"material":161,"size":162,"collection":72,"collections":3487,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},241422,"shou-zha-juan-ni-yuan-lu-241422","手札卷",[65,28,86,7,2103,85,29,806,101,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b8f209cdad2cf152b12019e6910799.jpg",[],{"id":3489,"slug":3490,"title":2133,"dynasty":18,"author":3491,"museum":62,"description":3492,"tags":3493,"thumbUrl":3494,"material":161,"size":162,"collection":72,"collections":3495,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},241218,"qi-lv-shi-zhou-fei-dao-yong-241218","费道用","明熹宗天启四年（公元1624年）举人，明思宗崇祯四年（公元1631年）进士。授福建福清县知县。到任三个月能知其乡语，市人经他看见过，再见即能判别为谁人。为官廉洁，正赋补不取耗银，崇学奖士，建桥，诸多善政。后因执法不徇私情为当地土豪劣绅所中伤。被劾。老百姓如同失去慈父母。上官知道他的廉洁后也叹息道：海口有口，福清真清矣！后经台臣杨鹗上疏鸣其冤，迁补兵部职方司郎中，转吏部考功司，卒。著有《碧桃轩集》，已失传。《黔诗纪略》录其诗十六首。",[806,7,25,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1226335cf3a655818fd05774f383713e.jpg",[],{"id":3497,"slug":3498,"title":3499,"dynasty":18,"author":3500,"museum":48,"description":3501,"tags":3502,"thumbUrl":3503,"material":101,"size":3504,"collection":55,"collections":3505,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},240987,"lin-jie-jin-shi-juan-cai-yu-240987","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。”",[84,23,24,85,145,86,7,28,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[55],{"id":3507,"slug":3508,"title":3509,"dynasty":153,"author":3510,"museum":3511,"description":3512,"tags":3513,"thumbUrl":3514,"material":1991,"size":3515,"collection":55,"collections":3516,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},240986,"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。",[28,145,25,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ee28c59e0340327e76871eb5e4f959.jpg","纵224.5， 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- 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[65,24,28,85,86,7,26,29,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":3640,"slug":3641,"title":3642,"dynasty":1127,"author":3643,"museum":62,"description":3644,"tags":3645,"thumbUrl":3646,"material":161,"size":162,"collection":72,"collections":3647,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","堀田正衡","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[65,23,24,85,26,469,28,86,7,29,939,1171,248,211,773,158,212,2244,981,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":3649,"slug":3650,"title":3651,"dynasty":1127,"author":391,"museum":62,"description":3652,"tags":3653,"thumbUrl":3654,"material":161,"size":162,"collection":72,"collections":3655,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},231799,"ri-ben-jiang-hu-shi-qi-shou-juan-yi-ming-231799","日本江户时期手卷","此卷行书笔墨酣畅，通篇行气贯通，字势顾盼相生，提按转合间尽显书写时的随性快意。枯湿浓淡自然变幻，牵丝映带灵动飘逸，既恪守晋唐行书隽雅法度，又不失狂放舒展的写意意趣。\n整卷为题咏诗文，书者笔随文势起伏，抒情处笔意舒缓温雅，激昂处笔墨恣肆开张，将文辞情志与书法笔韵相融无间，笔墨间尽显文人的旷达襟怀。章法排布疏密有致，卷首卷尾印信点缀得宜，通篇浑然一体，尽显书者深厚功底与潇洒风骨，是一件极具抒情性的行书佳作。",[65,85,28,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe027a5552153bbfd251e3763006f6a8.jpg",[],{"id":3657,"slug":3658,"title":3659,"dynasty":1127,"author":3660,"museum":62,"description":3661,"tags":3662,"thumbUrl":3665,"material":161,"size":162,"collection":72,"collections":3666,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 手简","多贺芥勇等","这卷草书手简以笔墨为心音，行笔随性萧散，线条提按转折间尽显文人笔底风神。通篇布局错落随心，字距行间疏密相生，无刻意经营的匠气，带着日常尺牍书写的松弛畅意。枯湿浓淡的墨色交织，牵丝映带里藏着书写时连贯的思绪情绪，将尺素寸心化作纸上云烟。以笔为语，把日常叙寄的意绪融在每一处笔墨细节中，率真自在的书写状态，尽显文人信札书法的萧散雅趣，是将日常闲情化为笔墨意趣的动人之作。",[65,28,85,86,7,2103,548,3663,3664],"汉字","书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690edad3d184081878b05d055e5ac915.jpg",[],{"id":3668,"slug":3669,"title":3670,"dynasty":1127,"author":3671,"museum":62,"description":3672,"tags":3673,"thumbUrl":3674,"material":161,"size":162,"collection":72,"collections":3675,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},231757,"xiao-ye-jia-jiu-cang-yi-teng-gui-jie-231757","小野家旧藏","伊藤圭介","伊藤圭介（伊藤圭介，ToruKazu 3年1月27日（1803年2月18日） -明治1934（1901） 1月20日），在江户时期的结束，从明治时期的采药人-荷兰研究人，自然·医学博士。日本第一位理学博士。男爵。它也以创造“雄蕊”、“雌蕊”和“花粉”等词而闻名。尾张省名古屋市（现爱知县名古屋市）出生。名字是顺民和清民。角色是大子和圭介。不。锦窠。",[65,28,85,86,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1195ff2293dc1dddc74712cb8907ad47.jpg",[],{"id":3677,"slug":3678,"title":3679,"dynasty":1127,"author":391,"museum":62,"description":3680,"tags":3681,"thumbUrl":3686,"material":161,"size":162,"collection":72,"collections":3687,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[65,85,469,1130,28,7,211,939,534,2667,1171,3682,771,3440,1060,3683,3684,3685],"青绿","聚会场景","骑马场景","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":3689,"slug":3690,"title":3691,"dynasty":1127,"author":3692,"museum":62,"description":3693,"tags":3694,"thumbUrl":3696,"material":161,"size":162,"collection":72,"collections":3697,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},231701,"tian-cun-jia-ting-hui-juan-jiang-hu-shi-qi-231701","田村家庭绘卷","江户时期","这卷手迹以平假名草书挥就，墨色沉凝古雅，笔势婉转舒展，牵丝映带间尽显和风书法的隽秀意趣。泛黄的古纸晕开浅褐色的岁月痕迹，将旧时心绪藏在纸间褶皱与墨迹之中。\n\n笔锋温润柔和，每一处转折都带着松弛的雅致，似在轻诉往昔的日常絮语，将时代的文心融于笔墨之间，让百年前书写时的沉静氛围顺着墨痕流淌至今，观者仿佛能触碰旧时纸面的温度，在素纸浓墨里，窥见旧时光里的缱绻文情。",[85,24,469,7,211,3695],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa206b80b3e9a179923228944528c4081.jpg",[],{"id":3699,"slug":3700,"title":3701,"dynasty":112,"author":391,"museum":62,"description":3702,"tags":3703,"thumbUrl":3706,"material":72,"size":72,"collection":72,"collections":3707,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},230911,"mo-you-jun-san-tie-yi-ming-230911","摹右军三帖","此作用笔灵动温润，墨色古雅沉静，忠实复刻出右军行书的飘逸神韵。行笔提转自然，牵丝映带间尽显晋人萧散风流，点画舒展雅致，藏露相宜，将二王笔法的秀逸风神尽数展现。\n\n满纸鉴藏玺印疏密错落，与帖文相映成趣，既见证了它辗转流传的岁月历程，也为这件作品增添了厚重的古雅质感，让笔墨意趣与时光沉淀交融为一，尽显旧帖的隽永神采。",[3704,28,145,86,7,29,3705,24,85],"唐代","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8578b6c0bd130fabf87d02674ab690.jpg",[],{"id":3709,"slug":3710,"title":3711,"dynasty":18,"author":2284,"museum":62,"description":3712,"tags":3713,"thumbUrl":3714,"material":161,"size":162,"collection":72,"collections":3715,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},228892,"lin-shi-qi-tie-zhu-da-you-228892","临十七帖","生卒不祥。明安徽宁国人。字伯亨，号摩诃山农。嘉靖十二年（1523）岁贡。",[65,28,24,85,145,7,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd321c7a624a4e022536dbfc17e26c4c7.jpg",[],{"id":3717,"slug":3718,"title":3719,"dynasty":18,"author":130,"museum":62,"description":2896,"tags":3720,"thumbUrl":3721,"material":161,"size":162,"collection":72,"collections":3722,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},228331,"dong-po-ji-you-juan-zhu-yun-ming-228331","东坡记游卷",[65,28,24,85,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdceeca7fc320dd85d26ace762e3e6d.jpg",[],{"id":3724,"slug":3725,"title":3726,"dynasty":153,"author":951,"museum":62,"description":1577,"tags":3727,"thumbUrl":3728,"material":161,"size":162,"collection":72,"collections":3729,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},224289,"he-yu-qing-zhang-wu-shi-er-de-zi-shi-juan-fu-shan-224289","贺毓青丈五十二得子诗卷",[65,24,28,85,7,86,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0256bed931e310b20e03ef45c4411af2.jpg",[],{"id":3731,"slug":3732,"title":3733,"dynasty":153,"author":951,"museum":62,"description":3734,"tags":3735,"thumbUrl":3737,"material":72,"size":72,"collection":72,"collections":3738,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},224285,"jin-gong-qian-gu-yi-kuai-si-tiao-ping-fu-shan-224285","晋公千古一快四条屏","《傅山草书经典:晋公千古一快四条屏》主要内容：傅山（一六○五——一六八四），字青主，看署名号有：傅山、山、真山、侨山等四十余个，明末清初著名学者、书法家。\n傅山一生磊落孤傲，拒不仕清，具有崇高的民族气节。\n其书法雄厚豪放，富有浪漫色彩。\n其以[二王]为宗，取法颜真卿，上追魏晋及宋元诸家，特别是米芾的疏狂颠逸之书风对他影响颇深。\n傅山楷隶行草诸体兼擅，但艺术成就最高的当属他的草书。\n从其行草书法作品中可以看出，其笔势雄浑，如排山倒海，一发不可收；其线条婉转飘逸，如枯藤绕树，缠绵起伏；其点画顿挫抑扬，如乱石铺街，险峻跌宕，因而显得大气磅礴，生机盎然。\n近年来，随着书法热的持续升温，傅山的书法也越来越受到人们的关注，特别是他的行草书，更是受到许多书法家和书法爱好者的喜爱。\n本书精选的是《晋公千古一快四条屏》。\n该作是最能代表傅山书法成就的行草书经典之作，以餮读者。\n《傅山草书经典:晋公千古一快四条屏》由河南美术出版社出版。\n插图：",[65,28,7,3736,26,24],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb9f4feb890ba43b653b6b7203b1a86.jpg",[],{"id":3740,"slug":3741,"title":3742,"dynasty":18,"author":870,"museum":466,"description":3743,"tags":3744,"thumbUrl":3749,"material":72,"size":72,"collection":72,"collections":3750,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},222545,"shu-jin-shan-si-shi-li-zhou-wang-duo-222545","书金山寺诗立轴","书法行笔迅疾、淋漓酣畅、醉墨狂书、驰骋奔突。取势险峻跌宕、盘旋婉转、瘦若枯藤、势如蛟龙。章法上进退裕如，纵中寓敛，缓急有致，技法娴熟，风格老辣苍劲、雄沉奇逸。\n王铎（1592—1652），字觉斯，一字觉之。号十樵，号嵩樵， 又号痴庵、痴仙道人，别署烟潭渔叟。孟津（今河南孟津）人。幼时家境十分贫寒，过着“不能一日两粥”的生活。天启二年（1622）中进士，受到考官袁可立的赏识推荐，入翰林院庶吉士，累擢礼部尚书。王铎身逢乱世，仕途坎坷多艰。崇祯十六年（1643），51岁的王铎曾一度避难于苏州浒墅关袁枢寓所，二人交情笃厚，往来间以诗文书画相唱和。袁枢之父兵部尚书袁可立的神道碑文和墓志铭就是王铎亲笔撰文书写的。1644年李自成攻克北京，崇祯帝殉国于景山。马士英等在南京拥立福王，王铎为东阁大学士。清朝入关后被授予礼部尚书、官弘文院学士，加太子少保，于永历六年（1652）病逝故里。享年六十一岁，葬于河南巩义洛河边，谥文安。\n王铎的书法，既把“二王”的一些用笔特点放大，同时也把自己的个性张扬。从流传下来很多的王铎临“二王”书作中，我们不难看到那个张扬的王铎，表面上学习“二王”，却又在不规矩地显摆自我，在安分与不安分之间游荡。王铎又善用墨法，浓淡干湿，满纸糊涂，在晚明到清初的书法语言里，这种大胆的探索，给了时人明灯般的启发。\n此作王铎书于崇正八年乙亥（1635），王铎时年43岁，正值创作盛年。狂草书咏金山寺七绝诗两首：“大江鳌背擁金堤，解缆攀藤路欲建；赤日常流孤寺外，白云只在暮山西”。“层崖剥落残碑卧，古洞阴森怪鸟唬；卜筑中洽堪自老，何须更棹古陵溪。金山寺之二首，王铎为皓庵先生词宗正之，乙亥秋草具。”钤白文“王铎之印”、朱文“庵”方印。\n这幅作品一如既往地延续了王铎大刀阔斧一面的风格。用笔开张，气度轩昂，刀枪剑戟，一应俱全。每见这种大尺幅作品，总让人联想起沙尘浩荡的将军挥刀，使人动容。通篇气息连贯，一挥而就，有大浪扬帆之气概。\n开篇，王铎大笔一挥，用他独有的、极具个性的涨墨开头，恰如贝多芬的《命运交响曲》，高调的开头，把整个主旋律定了下来。开头“大江”二字的涨墨，既是自然的开张，也是有意的起首，这种夸张的手法，以至于“江”字都很难辨认了。随着开头两个字的重笔重墨，到了“鳌”字，便把笔一抬，将沉重的调子抬高。湿笔在“鳌”的“土”部成功转换，“江”与“鳌”之间的牵丝，若连若断，既是承接又是转换。从重到轻的旋律，在“鳌”演绎一次后继续在“背”“擁”中重复。但如果只是单纯地从重到轻的重复，那就太小看王铎的招数了。重复了两次后，“擁金堤”三字之间发生变化。“金堤”从轻到更轻，从湿到干，节奏上开始发生了变化，再来细看这三个字的处理，就发现这种节奏的把握与控制，自然舒畅，在不知不觉之间已被倾倒。再看看三个字的节奏变化，重笔从重到轻，三字之间的牵丝引带，巧妙地将三个字的关系联系了起来。在王铎的书法中，这种连断的运用相当巧妙与动人，技巧上继承了怀素、董其昌一路的断连用笔，并且某些技巧有所夸张和延伸。\n王铎的用笔高妙，在于他能把笔全方位用上，从涨墨到牵丝，干湿交错，粗细变化。错综复杂的掺杂，制造矛盾与化解矛盾的对立统一， 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[4172,447,28,85,7,118],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69619830575b29121e396b61073b3ffb.jpg",[],{"id":4176,"slug":4177,"title":4178,"dynasty":18,"author":2715,"museum":62,"description":3782,"tags":4179,"thumbUrl":4180,"material":161,"size":162,"collection":72,"collections":4181,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},288237,"shi-shou-juan-wen-zheng-ming-288237","十首卷",[28,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866f45fe1ba9442abac1b8f677e3f26f.jpg",[],{"id":4183,"slug":4184,"title":4185,"dynasty":18,"author":350,"museum":62,"description":1218,"tags":4186,"thumbUrl":4187,"material":161,"size":162,"collection":72,"collections":4188,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},288168,"shu-du-gong-bu-shi-ce-dong-qi-chang-288168","书杜工部诗册",[28,7,52,29,4034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73ede0aa7799ac099d7b979c361e7f8.jpg",[],{"id":4190,"slug":4191,"title":4192,"dynasty":1127,"author":391,"museum":62,"description":4193,"tags":4194,"thumbUrl":4196,"material":161,"size":162,"collection":72,"collections":4197,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},287935,"fa-cang-quan-jing-p4019-4-tang-yan-zi-fu-yi-juan-yuan-ti-shou-gao-jiu-ban-yi-ming-287935","法藏全景 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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”。 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硬倔、奇异的风格颇相似。",[28,25,86,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd737719b5306714c402fb419d345566c.jpg","纵125.8厘米，横55.1厘米",[55],{"id":4490,"slug":4491,"title":4492,"dynasty":18,"author":4493,"museum":62,"description":4494,"tags":4495,"thumbUrl":4496,"material":72,"size":72,"collection":55,"collections":4497,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},239887,"shu-zha-ma-yi-long-239887","书扎","马一龙","马一龙（1499—1571）明农学家、书法家。字负图，号孟河，别号玉华子。溧阳人。马性鲁子，马从谦侄。嘉靖二十六年（1547）进士。翰林院检讨，授南京国子监司业。因母亲年老多病，五次上疏请求返里养亲，方得批准。三十八年分校礼闱，擢南少司成摄大司成事。辞官回溧阳后建务本书院，构筑馆舍，读书著述。曾捐资设义田，恢复盘龙堰，改筑盘龙桥，重建尊经阁等。招募农民垦种，采用分成制，把收获的一半给佣工，一年后荒地全部得到开垦并取得好收成。根据自己的农事经验编辑《农说》，以阴阳理论阐述农业生产，特别是水稻生产，在农学思想上占有相当重要的地位。另著有《农经》、《字帖》及《玉华子游艺集》24卷，石刻书法有《重修广化庵记》、《楷书石碑》。工书。法怀素《圣母帖》，遒劲飘逸，自谓怀素以后一人。去世后入祀乡贤祠和忠孝祠。",[806,28,7,101,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8371a51706cd0341dcf7d26a63b0704a.jpg",[55],{"id":4499,"slug":4500,"title":4501,"dynasty":18,"author":4502,"museum":62,"description":4503,"tags":4504,"thumbUrl":4505,"material":161,"size":162,"collection":72,"collections":4506,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},239878,"han-gong-chun-xiao-shi-zhou-shao-jie-chun-239878","汉宫春晓诗轴","邵捷春","邵捷春（？～1641），字肇复，号冶园，福建福州府候官县（今福建省福州市闽侯县）人，万历四十七年（公元1619年）进士，累官稽勋郎中。崇祯二年（公元1629年））出为四川右参政，迁浙江按察使，大计坐贬。起四川副使。十年（公元1637年），至成都，守城拒农民军。旋监傅宗龙军进右参政。再擢右佥都御史，代宗龙为巡抚。十三年（公元1640年）罗汝才、张献忠合兵攻蜀，失事被逮。次年（公元1641年）八月仰药死狱中。著有《剑津集》、《入蜀吟》。",[806,24,28,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddb5779610f8429d27f9fe765f905bf.jpg",[],{"id":4508,"slug":4509,"title":4510,"dynasty":153,"author":4511,"museum":62,"description":4512,"tags":4513,"thumbUrl":4515,"material":161,"size":162,"collection":72,"collections":4516,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},239769,"shu-hu-zi-zhou-zhang-yun-ting-239769","书虎字轴","张云亭","张云亭（生卒年不详），于道光二年壬午科(1822年) 通过层层考试最后高中武状元，为道光年间的第一位武状元。",[23,24,25,28,7,29,4514,469],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f40d034214e744779fac56e8b31d99.jpg",[],{"id":4518,"slug":4519,"title":3581,"dynasty":153,"author":154,"museum":48,"description":3582,"tags":4520,"thumbUrl":4521,"material":101,"size":3585,"collection":72,"collections":4522,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},239601,"shi-san-zha-ce-zhu-da-239601",[24,52,86,7,26,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c034a73b8c5cedfe6cc3df562dcf1cd.jpg",[],{"id":4524,"slug":4525,"title":4526,"dynasty":153,"author":951,"museum":48,"description":3624,"tags":4527,"thumbUrl":4528,"material":3627,"size":3628,"collection":72,"collections":4529,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},233816,"shan-shui-ce-5-fu-shan-233816","山水册5",[23,24,52,469,939,773,1060,2232,775,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4116bbd5f555a5007b54a3f3aff5fa.jpg",[],{"id":4531,"slug":4532,"title":4533,"dynasty":153,"author":951,"museum":48,"description":3624,"tags":4534,"thumbUrl":4536,"material":3627,"size":3628,"collection":72,"collections":4537,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":41},233813,"shan-shui-ce-2-fu-shan-233813","山水册2",[23,24,52,469,3682,939,7,938,769,770,771,1060,4535,775,4058],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg",[],{"id":4539,"slug":4540,"title":4541,"dynasty":1127,"author":4542,"museum":62,"description":4543,"tags":4544,"thumbUrl":4546,"material":161,"size":162,"collection":72,"collections":4547,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":93},231801,"zi-bi-shu-jian-zi-bi-shu-jian-26x176cm-da-gui-xuan-ze-231801","自笔书简-自笔书简 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瑜伽论第三十四 三十八分门记 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[5524,5525,5526,5527,28,7,5528],"陶瓷","日用具","白釉","黑彩","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98e41882e5c76d502dd748a9bcec693.jpg",[],{"id":5532,"slug":5533,"title":5534,"dynasty":153,"author":391,"museum":62,"description":5535,"tags":5536,"thumbUrl":5540,"material":161,"size":162,"collection":72,"collections":5541,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":189},259584,"zhang-hong-kun-zhi-kuan-yi-xing-zi-sha-ke-zi-si-fang-dou-bei-yi-ming-259584","“张鸿坤制”款宜兴紫砂刻字四方斗杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[5524,5537,2508,5525,5538,5539,7,28],"紫砂","斗杯","刻字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda85c9c25b9ca9c42d31e1fb2ff2a8.jpg",[],{"id":5543,"slug":5544,"title":1757,"dynasty":153,"author":391,"museum":62,"description":3467,"tags":5545,"thumbUrl":5546,"material":161,"size":162,"collection":72,"collections":5547,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":189},242597,"zhong-ke-chun-hua-ge-tie-yi-ming-242597",[28,184,51,86,7,29,52,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39aae1b0687f2454d100a0107051ee60.jpg",[],{"id":5549,"slug":5550,"title":1757,"dynasty":153,"author":391,"museum":62,"description":3467,"tags":5551,"thumbUrl":5552,"material":161,"size":162,"collection":72,"collections":5553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},242582,"zhong-ke-chun-hua-ge-tie-yi-ming-242582",[28,24,184,51,86,7,29,2373,768,145,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865654d6dd9013b851486566cf00e10.jpg",[],{"id":5555,"slug":5556,"title":4291,"dynasty":18,"author":391,"museum":62,"description":5557,"tags":5558,"thumbUrl":5559,"material":161,"size":162,"collection":72,"collections":5560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},242575,"dong-shu-tang-tie-yi-ming-242575","此为汇帖拓本，纸色泛黄晕染岁月痕迹，古意盎然。右侧开篇题识端整，其后尺牍行笔灵动婉转，牵丝映带自然随性，将晋人尺牍萧散简远的风神复刻传神。左侧字迹笔力遒劲爽朗，字形欹正相生，布局错落有致。刻工精妙入微，忠实还原原帖墨色浓淡与提按使转的细节，将行书的飘逸妍美与法度意趣平衡恰到好处，尽显魏晋尚韵的书法美学。观者可于拓痕间遥窥先贤笔底风流，它兼具临摹研习与收藏赏鉴价值，笔墨间藏着千载不散的清雅书卷意。",[28,184,51,52,86,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cd3c38eb7426b33a0be52097ef1671.jpg",[],{"id":5562,"slug":5563,"title":4291,"dynasty":18,"author":391,"museum":62,"description":5564,"tags":5565,"thumbUrl":5566,"material":72,"size":72,"collection":72,"collections":5567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},242571,"dong-shu-tang-tie-yi-ming-242571","此帖取魏晋尺牍，行书萧散简远，尽显晋人尚韵风流。点画圆融灵动，牵丝映带细腻妥帖，结体欹正相生，笔势舒展自在，将魏晋名士疏放襟怀藏于笔墨之间。\n\n刻工精妙，拓制精良，墨色乌亮莹润，忠实还原原作意趣，虽为刻帖却不失手札的鲜活意态，纸墨交融间，将晋唐法书的隽逸雅秀留存下来。展卷观之，仿佛能窥见古人挥毫时的从容自在，尽显丛帖刻拓的匠心与古法书的清逸风神。",[28,51,184,52,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8678b2398c5d0bd923830ac05dc701.jpg",[],{"id":5569,"slug":5570,"title":4291,"dynasty":18,"author":391,"museum":62,"description":5571,"tags":5572,"thumbUrl":5573,"material":161,"size":162,"collection":72,"collections":5574,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},242568,"dong-shu-tang-tie-yi-ming-242568","此帖荟萃魏晋名臣法书，刻拓精工雅致，墨色沉凝如古潭寒玉。左侧羊欣行草萧疏散淡，线条舒展如流云出岫，将暮春感怀的澹然心绪融于笔墨，尽显晋人简远萧散的林下之风。右侧王献之书作笔势开张奇逸，牵丝映带间跌宕相生，结体欹侧灵动，藏露锋互见，既有法度谨严之态，又不失俊爽疏朗之姿。刻工将原作的提按转折、墨色枯润悉数留存，黑底白字古雅沉静，把魏晋尺牍的风神意韵复刻传神，尽显明人汇帖的精湛水准，是追慕魏晋书风的绝佳范本。",[28,184,51,86,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee3a729b9a52355a03a1291f4928a6.jpg",[],{"id":5576,"slug":5577,"title":5578,"dynasty":18,"author":391,"museum":62,"description":5579,"tags":5580,"thumbUrl":5581,"material":161,"size":162,"collection":72,"collections":5582,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":189},242556,"bao-xian-tang-tie-yi-ming-242556","宝贤堂帖","此作为行草书刻帖，墨色沉郁古雅，刊刻精工细致，将原作笔意风神留存真切。线条灵动舒展，牵丝映带间尽显笔势连贯畅达，字势顾盼相生，既有草书的流宕快意，又不失行书的沉稳端雅。\n\n章法排布匀停疏朗，字间行气贯通浑成，笔墨的枯湿浓淡经由刻拓隐约可辨，即便复刻亦不减笔墨生动之趣，尽显晋人尺牍的萧散简远。字里行间自带旧时文人翰札往来的散淡情致，让人得以遥想彼时尺素传情的风雅意趣，是复刻晋人书风的精良范本。",[184,28,51,86,117,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Ft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