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(1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[26,23,24,25,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg","白纸本","纵27.5厘米，横62.8厘米",[30],34,{"id":76,"slug":77,"title":78,"dynasty":18,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":84,"material":85,"size":86,"collection":87,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":34},221367,"zheng-jian-yi-ming-gong-chi-du-cai-xiang-221367","政谏议明公尺牍","蔡襄","这幅楷书尺牍，可以说有很多颜真卿的根基和面貌，五代以后，但凡学书者，多少都会受到颜真卿影响。首先，结构上有顾盼和内在联系，像“拜”、“亲”、“赐”、“谏”等有些字，两部分相互倾斜，整体感觉却是平衡，体现出了体态的娇娆轻盈。其次，转折处多用顿笔，提按也分明不显露。不过颜真卿楷书是横细竖粗，力度较大，蔡襄楷书是行云流水，曲雅端庄。这点他们还是明显有区别的。然后，各种戈钩很有虞世南书风，特点就是刚劲挺拔，有很强的骨力感，而且很多钩都形态各异，变化丰富。",[23,24,18,82,60,7,83],"墨书","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d057a70693ac660746933244f80aab.jpg","楷书","28.8x158.6cm","",[],31,{"id":91,"slug":92,"title":93,"dynasty":18,"author":94,"museum":20,"description":95,"tags":96,"thumbUrl":97,"material":60,"size":98,"collection":30,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":34},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[56,23,24,25,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[30],29,{"id":102,"slug":103,"title":104,"dynasty":52,"author":53,"museum":20,"description":105,"tags":106,"thumbUrl":107,"material":60,"size":108,"collection":30,"collections":109,"showCount":100,"zanCount":47,"manualWeight":11,"mainColor":34},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[26,23,24,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[30],{"id":111,"slug":112,"title":113,"dynasty":18,"author":114,"museum":20,"description":115,"tags":116,"thumbUrl":117,"material":118,"size":87,"collection":30,"collections":119,"showCount":120,"zanCount":47,"manualWeight":11,"mainColor":34},219641,"zhi-zhi-fu-she-ren-chi-du-zhao-bian-219641","致知府舍人尺牍","赵抃","落笔瘦劲爽利，提转藏裹间尽显温润君子气度。通篇章法疏朗留白，气息匀净安宁，无一字赘笔炫技，只以凝练沉稳的笔墨，写就日常谢启心绪。将宋代尚意风雅融于尺牍寸方，把文人清简端方的襟怀藏于毫端。作为日常书札，不见刻意雕琢，只以平实笔触叙写往来，随性雅致间尽显宋人手札的萧散意趣，尺幅虽小却余韵悠长，尽显士大夫的清雅风骨。",[23,24,7,60,82,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce50dd9ba6240140838dd3d.jpg","绢本",[30],22,{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":127,"description":128,"tags":129,"thumbUrl":131,"material":132,"size":133,"collection":87,"collections":134,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":34},288011,"cai-xiang-chi-du-qi-zhong-yi-ming-288011","蔡襄 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虞集至大都，他被荐授大都路儒学教授。仁宗时，为集贤修撰。泰定帝时，升任翰林直学士兼国子祭酒。文宗为怀王时，已知虞集之名，继位后授之奎章阁侍书学士，进翰林侍讲学士，并与赵世延等编纂《经世大典》。因虞集曾草诏说顺帝非明宗子，所以顺帝即位后，他就谢病回乡。谥文靖。\n诗文为当时大家，“一时宗庙朝廷之典册，公卿士大夫碑版咸出其手。粹成一家之言”。与杨载、范□（木亨）、揭傒斯先后齐名，人称“虞、杨、范、揭”，并称“元诗四大家”。他主张宗唐宗古，以李白、杜甫为正宗，而又特别欣赏陶渊明、王维、韦应物、柳宗元等人，提倡“舒迟而淡泊”的审美观。诗文风格谨严，但多模拟前人。有《道园学古录》、《道园遗稿》。\n书法亦是大家，曾与赵孟頫同在翰林院共事，赵孟頫是他的上级，书法自然受到赵孟頫影响，观其作品，深得晋人韵味，清朗蕴藉之气不减赵氏。陶宗仪式《书史会要》称他“真行草篆皆有法度。古隶为当代第一。”明代书法家李东阳说：“书家者流，所谓人品高、师法古者，伯生殆兼有之。”书迹主要留于鉴赏题跋，传世作品还有《刘垓神道碑铭》墨迹本（上海博物馆藏）为大字真书，可见钟繇、苏轼笔法，曾为奎章阁篆印两方“奎章阁宝”、“天历之宝”，可见他的篆书在当时也很出众。虽为当时重要书家，流传作品不多，风格也不甚鲜明。",[23,24,82,25,7,58,60,175,27],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],4,{"id":181,"slug":182,"title":183,"dynasty":184,"author":185,"museum":127,"description":186,"tags":187,"thumbUrl":189,"material":132,"size":133,"collection":87,"collections":190,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},241641,"zhi-yang-hu-shu-zha-wen-zheng-ming-241641","致阳湖书札","明","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[188,23,24,25,60,7,27],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c7c691a4650c35c73306c75c378ec.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":184,"author":195,"museum":127,"description":196,"tags":197,"thumbUrl":200,"material":132,"size":133,"collection":87,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":34},283742,"lin-song-si-jia-shu-juan-dong-qi-chang-283742","临宋四家书卷","董其昌","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。",[56,23,198,199,24,142,130,7],"长卷","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58aa17031b6086581da148289ec300e7.jpg",[],2,{"id":204,"slug":205,"title":206,"dynasty":18,"author":207,"museum":20,"description":208,"tags":209,"thumbUrl":210,"material":60,"size":211,"collection":87,"collections":212,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":34},221657,"zhi-yang-zheng-jian-miao-feng-yi-chi-du-fan-cheng-da-221657","致养正监庙奉议尺牍","范成大","昨辱惠字至慰。雪晴奇寒。以仆之瑟缩。遥知公之为况也。范子二轴。各为题数字纳去。幸为分付。属此寒冷。不得与渠少款曲。每念右史同年。为之凄断。王生所作隶古千文。可得一观否。方子文字挨排不行。只得以来年。今小大尚未回。得维垣亲扎。闲数日。阔匾来者又数处。殆成苦相。不可具言。成大顿首。养正监庙奉议贤友。",[56,154,23,24,7,26,82,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce03fab5049ee3a27238081e4d70bca.jpg","30.9x43.9厘米",[],{"id":214,"slug":215,"title":216,"dynasty":184,"author":217,"museum":20,"description":218,"tags":219,"thumbUrl":223,"material":71,"size":224,"collection":87,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},222325,"zhi-qing-shi-zun-zhang-chi-du-zhang-xian-yi-222325","致磬石尊丈尺牍","张献翼","张献翼，[明]（1534-1604）字幼于，后更名敉，长洲人。张凤翼之弟。嘉靖中国子监生。为人放荡不羁，言行诡异，与兄凤翼、燕翼并有才名，时称“三张。”精于易，其说《易》诸作，皆平正通达，笃实不支，为人所称。",[23,24,82,25,220,7,221,222],"纸质","界格","装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1029aaebc98637d9cfccd05aed34a.jpg","27.4×35.6",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":207,"museum":20,"description":230,"tags":231,"thumbUrl":232,"material":60,"size":233,"collection":87,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},221655,"shu-chi-du-fan-cheng-da-221655","书尺牍","范成大（1126-1193），字致能，自号石湖居士。他是南宋著名的田园诗人，也是著名的书法家。由于他的母亲是北宋大书家蔡襄的外孙女，范成大很早即与书法有所接触，他早年由蔡襄入手，之后陆续吸收北宋三家（苏轼、黄庭坚、米芾）书迹的特色，终成就出自己的书法面貌。范成大在当时书名虽显，但书法对于他，却仍仅仅是公事之外，吟咏之馀的闲暇活动。他所留下的作品大多是他游宦于各地名胜时所留下的摩崖题刻，或是应人之请书写的诗文、为画卷所作的题跋等，但也有像这幅与友人往来的书札。\n这幅尺牍又名“垂诲帖”，是范成大在淳熙四年（1177）时，写给住在吴兴（今浙江吴兴）友人的一封信。信中除了向友人说明为他撰写的先夫人志尚未能完成的原委外，同时也说明他因身体日衰，恐怕无法帮他书写碑志，请他人代为书写等相关事宜。",[56,23,24,57,25,7,154,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9effc80a1445f59900eff32013e02430.jpg","31.5 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