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、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》。",[24,47,48,30,7,49,50,51,52,28],"拓本","楷书","神话","麻姑","仙坛","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7722d87b73190fdc8e7c527828bc3676.jpg",[],57,"795548",{"id":58,"slug":59,"title":60,"dynasty":61,"author":62,"museum":20,"description":63,"tags":64,"thumbUrl":72,"material":32,"size":33,"collection":34,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":56},288163,"fang-liu-song-nian-shan-zhong-dao-jiao-yi-ming-288163","仿刘松年山中道教","明","佚名","此作铺陈出一方仙山灵境，层峦叠嶂深秀苍润，林泉蜿蜒幽致，尽显洞天福地的静谧出尘。线条清劲工致，勾勒出山岩硬朗肌理与林木舒展之态，绢色因年深沉凝古雅，晕染出静穆古意。\n仙宇楼阁隐于云壑林麓间，道侣幽栖往来，将道家山水问道的意涵融于丘壑烟岚之中。仿院体精工之法，兼具清雅文气，把“天人合一”的哲思寄寓笔墨间，虽历经岁月晕染，出尘之韵依旧盎然，是兼具叙事性与山水意境的道释佳制。",[23,65,66,25,67,68,7,69,70,71,24],"名画","国画","书画","宗教","山水","临摹","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6f6bbb0e3beaf0268d2544a8cf99d1.jpg",[],55,{"id":76,"slug":77,"title":78,"dynasty":79,"author":62,"museum":20,"description":80,"tags":81,"thumbUrl":91,"material":32,"size":33,"collection":34,"collections":92,"showCount":93,"zanCount":37,"manualWeight":11,"mainColor":56},290684,"ke-si-qing-niu-lao-zi-tu-zhou-yi-ming-290684","缂丝青牛老子图轴","宋","画中人物为老子，姓李名耳，字聃。春秋时楚国人。道教认为老子即是「太上老君」在人间的化身。相传老子经过函谷关时，守山的官吏尹喜似乎感到东边的天空忽然一片紫气。他断定会有圣人将来此地。不久，果然见老子骑青牛从东边扬长而至。尹喜便请求老子著书传世，老子应允，便在函谷关著下五千言《道德经》，写完後便骑牛向西而去，其後即不知所终。",[82,83,66,65,67,84,85,86,87,7,71,88,89,90],"立轴","缂丝","人物","老子","牛","青牛","布料","祥云","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa336a1577cdc9d924e9eea1c51b6bf73.jpg",[],45,{"id":95,"slug":96,"title":97,"dynasty":61,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":106,"material":32,"size":33,"collection":34,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":56},290950,"yu-dong-shao-dan-juan-chou-ying-290950","玉洞烧丹卷","仇英","乍辞紫府出仙都。来问丹成事有无。云雾衣裳芝作馔。桃花颜色雪为肤。壶中满贮长生药。卷内同看太极图。寄语群仙机尽息。何须更问玉蟾蜍。仇英实甫画玉洞烧丹图。精细工雅。深得松年千里二公神髓。诚当代绝技也。雨窓无聊。据案展阅。不觉情思飞扬。漫赋短句。嘉靖壬子（1552）征明识。",[66,25,101,71,102,84,69,103,104,105,7],"工笔","青绿","松树","云雾","炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea85c55f212fc077fd9230bbed9a7f2.jpg",[],38,{"id":110,"slug":111,"title":112,"dynasty":79,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":121,"material":122,"size":123,"collection":34,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":56},288937,"san-guan-chu-xun-tu-ma-lin-288937","三官出巡图","马麟","台北故宫博物院","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,66,65,117,7,84,52,86,71,101,49,118,119,120],"宗教画","云","水","神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg","绢本,设色","174.2x122.9",[],36,{"id":127,"slug":128,"title":129,"dynasty":79,"author":130,"museum":20,"description":131,"tags":132,"thumbUrl":135,"material":32,"size":33,"collection":34,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":56},288059,"chao-yuan-tu-juan-wu-zong-yuan-288059","朝元图卷","武宗元","武宗元(约980～1050)，初名宗道，字总之。河南白波（今河南洛阳吉利区）人。北宋画家。宋真宗景德年间，建玉清昭应宫，征全国画师，分二部，宗元为左部之长。他家世业儒，以荫得太庙斋郎，官至虞部员外郎。擅画道释人物，曾为开封、洛阳各寺观作大量壁画。",[23,65,66,67,25,133,84,7,134],"白描","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5f8f29a39746c8231c14fa0622632.jpg",[],34,{"id":139,"slug":140,"title":141,"dynasty":79,"author":142,"museum":20,"description":143,"tags":144,"thumbUrl":147,"material":32,"size":33,"collection":34,"collections":148,"showCount":149,"zanCount":37,"manualWeight":11,"mainColor":38},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","梁楷","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,25,66,67,133,7,134,84,145,24,48,27,146],"楼阁","黄庭经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":151,"slug":152,"title":153,"dynasty":154,"author":62,"museum":20,"description":155,"tags":156,"thumbUrl":157,"material":32,"size":33,"collection":34,"collections":158,"showCount":159,"zanCount":37,"manualWeight":11,"mainColor":38},290710,"tang-wu-shang-jin-xuan-shang-miao-dao-de-jing-juan-shou-gao-zheng-mian-yi-ming-290710","唐 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[192,193,194,195,68,7,84,196],"唐代","青铜器","鎏金","雕刻","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76746ce230daa117d47827118035e711.jpg",[],19,{"id":201,"slug":202,"title":203,"dynasty":18,"author":62,"museum":20,"description":204,"tags":205,"thumbUrl":208,"material":32,"size":33,"collection":34,"collections":209,"showCount":210,"zanCount":37,"manualWeight":11,"mainColor":56},290798,"liu-hai-chan-xiang-zhou-yi-ming-290798","刘海蟾像轴","刘海蟾是五代宋初的道士，道教全真道将之奉为〝北五祖〞之一。宋元以来，民间流传〝刘海戏金蟾〞故事。今街头店家橱柜犹见置有三脚蟾蜍口衔金钱者，寓意辟财、富贵，皆渊源于此。本幅画刘海蟾像，人物衣纹多以干笔挥就，线条粗放，近似折芦描法。衣带下摆，飘飘欲举，为原本沉寂的画幅，凭添律动之感。题签虽属元代，然其布局与技法，实已开启明季浙派苍劲粗放之先河。",[66,82,206,133,84,7,49,207],"水墨","金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c4f79a6cfd1830937f2a3763614cb8.jpg",[],13,{"id":212,"slug":213,"title":214,"dynasty":43,"author":215,"museum":20,"description":216,"tags":217,"thumbUrl":218,"material":32,"size":33,"collection":34,"collections":219,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":56},287600,"du-ren-jing-chu-sui-liang-287600","度人经","褚遂良","度人经全称《太上洞玄灵宝无量度人上品妙经》, 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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[271,272,7,273,274,275],"陶瓷","青花","真武","人物造像","宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223074d7e5ca9ec01491c3de112a7c88.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":61,"author":62,"museum":20,"description":282,"tags":283,"thumbUrl":288,"material":32,"size":33,"collection":34,"collections":289,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":56},254868,"tong-qian-jin-lv-zu-xiang-yi-ming-254868","铜嵌金吕祖像","此造像吕祖面庞鎏金，沉静威严，长髯垂胸尽显出尘之姿。衣身嵌金云纹随衣袂流转，线条飘逸灵动，暗合仙家超脱气度。\n\n身侧护法鬼卒形貌狞猛，肌肉虬结，神态凶悍，与吕祖的清雅淡然形成强烈反差，一动一静间张弛有度，烘托出吕祖的超然威仪。\n\n整体铜色沉穆古雅，嵌金工艺精细入微，匠师将仙家风骨与护法悍勇精妙融合，尽显造像工艺的精湛造诣，暗含道法庄严的仙灵气韵，是古韵悠长的造像佳作。",[193,284,195,285,7,286,274,287],"铜制","嵌金工艺","吕祖","护法鬼卒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd94e2d7c0ddb608c922e9067730cf2d.jpg",[],{"id":291,"slug":292,"title":293,"dynasty":18,"author":294,"museum":20,"description":295,"tags":296,"thumbUrl":297,"material":32,"size":33,"collection":34,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":38},290414,"lin-huang-ting-jing-fu-hui-wang-xi-zhi-xiang-juan-wei-zhao-meng-fu-290414","临黄庭经附绘王羲之像卷（伪）","赵孟頫","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。",[23,25,67,24,48,70,30,84,7,28,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe617929bc8a67971bbaddc937e73fd1c.jpg",[],7,{"id":301,"slug":302,"title":303,"dynasty":61,"author":62,"museum":20,"description":269,"tags":304,"thumbUrl":306,"material":32,"size":33,"collection":34,"collections":307,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":244},261253,"qing-hua-mao-shan-dao-shi-tu-san-zu-xiang-lu-yi-ming-261253","青花茅山道士图三足香炉",[271,272,305,84,7],"三足香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a85c764346ca5c87d777cf9a2aae44.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":154,"author":62,"museum":20,"description":312,"tags":313,"thumbUrl":316,"material":32,"size":33,"collection":34,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":38},287938,"lao-zi-hua-hu-jing-xuan-ge-juan-di-shi-juan-yi-ming-287938","老子化胡經玄歌卷第十卷","此卷小楷通篇绵密连贯，笔致朴拙温润，虽历经岁月，卷面残损斑驳，却更添古旧苍润的质感。书写者笔势舒展安稳，点画扎实凝练，尽显民间写经的典型风貌，带着抄录时的沉静虔诚。\n作为道教经卷抄本，文字排布匀整、行气贯通，墨色虽有晕散却依旧沉稳，将宗教文本的肃穆与书法的舒展融为一体。卷页的缺损如同时光凿下的印记，承载着中古道教文化的传播脉络，朴素卷面中藏着跨越千年的信仰温度，是宗教文献与书法艺术相融的珍贵遗存。",[23,25,24,48,27,7,314,29,68,315,85],"经文","老子化胡经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bcafa315e4d9c3d3d61b29fbcc83f1.jpg",[],5,{"id":320,"slug":321,"title":322,"dynasty":234,"author":62,"museum":20,"description":323,"tags":324,"thumbUrl":327,"material":32,"size":33,"collection":34,"collections":328,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":38},280539,"yu-huang-xiang-an-li-shou-niu-xiang-ya-zhang-yi-ming-280539","“玉皇香案吏”兽钮象牙章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[28,226,26,325,326,7],"象牙","兽钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af624f1bc1b13afee6c57a61d562294.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":61,"author":62,"museum":20,"description":224,"tags":333,"thumbUrl":335,"material":32,"size":33,"collection":34,"collections":336,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":337},277976,"shou-shan-shi-wu-dao-xuan-wei-chu-tian-shang-jia-yun-xuan-ruo-neng-qin-zhi-li-xiu-zhen-zhi-yi-yan-dong-fu-yan-xia-tian-xian-qing-hui-liu-mian-yin-yi-ming-277976","寿山石“悟道玄微处”“天上驾云轩”“若能勤志力”“修真止一言”“洞府烟霞”“天仙庆会”六面印",[28,226,26,334,237,7,195],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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