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说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,24,25,30,119,29,7,105,104],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg","墨迹本","20.8×8.9cm",[34,69],114,{"id":126,"slug":127,"title":128,"dynasty":129,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":141,"material":87,"size":87,"collection":87,"collections":142,"showCount":143,"zanCount":55,"manualWeight":11,"mainColor":38},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","民国","张大千","四川博物院","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[23,80,48,101,134,82,81,135,136,7,137,105,104,138,139,140],"水墨","孤石","老树","笔","砚","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],108,{"id":145,"slug":146,"title":147,"dynasty":43,"author":148,"museum":149,"description":150,"tags":151,"thumbUrl":152,"material":28,"size":87,"collection":34,"collections":153,"showCount":154,"zanCount":55,"manualWeight":11,"mainColor":38},221106,"qian-zi-wen-ou-yang-xun-221106","千字文","欧阳询","辽宁省博物馆","千字文作为中国古代的启蒙学课本，以一千字编为四言章韵语，叙述有关自然、社会历史、教育等方面的知识，隋代即开始流行。\n此千字文传欧阳询书，故宫博物院藏,见于《戏鸿堂帖》，内容完整，后有刻跋两段：“右率更令所书千文字扬补之家藏本，咸淳甲戍岁九月三日钱金应桂”。“书家以分行布白谓之九宫，元人作书经云：黄庭有六分九宫、曹娥有四分九宫是也。今观信本千文真有完字具于胸中。若构凌云台，一皆衡剂而成者。米南宫评其真书到内史、信矣，此本为扬补之家藏，勒其全文，欲学书者先定间架，然后纵横跌宕唯变所适也。其昌”。",[23,25,24,26,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e30ddce65a81934ed675107a76227.jpg",[34],95,{"id":156,"slug":157,"title":158,"dynasty":129,"author":159,"museum":160,"description":161,"tags":162,"thumbUrl":163,"material":87,"size":87,"collection":87,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":38},220521,"jun-mo-xiao-xiang-xu-bei-hong-220521","君墨肖像","徐悲鸿","中央美术学院美术馆","此作以骨法用笔写就，铁线描勾勒轮廓与衣褶，兼具书法笔意，简练肯定又带着写意灵动。画师捕捉了沉思的瞬间，以淡墨晕染面部，精准带出人物骨骼肌理，戴镜抬眼的神态温雅又暗含思索，将文人的儒雅风骨刻画入微。桌角摊开的书页更添文人气韵，中西技法相融，以国画笔墨为骨，吸纳西画写实精髓，形神兼备，将对象沉稳内敛的气质尽显于纸面，是现代国画肖像画极具代表性的佳作。",[80,134,84,83,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0ff221f3fc04b8413d2e6cefe5b64c.jpg",[],88,{"id":167,"slug":168,"title":169,"dynasty":43,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":176,"material":28,"size":177,"collection":34,"collections":178,"showCount":179,"zanCount":55,"manualWeight":11,"mainColor":38},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","白居易","藏地不详","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[23,24,25,7,174,104,175],"抄本","墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg","未知",[34],85,{"id":181,"slug":182,"title":183,"dynasty":18,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":189,"material":25,"size":87,"collection":34,"collections":190,"showCount":191,"zanCount":55,"manualWeight":11,"mainColor":91},221016,"jian-ji-zhi-biao-zhong-yao-221016","荐季直表","钟繇","原作佚失","此帖或为唐人根据原本所摹，或为伪托，但应属“伪好物”。由于它具有钟书的基本特征和很高的艺术价值，故得到书界的重视和高度评价。如陆行直说：“繇《荐季直表》高古纯朴，超妙入神，无晋唐插花美女之态。”王世贞认为，在此帖显世之后，“天下之学钟者，不再知有《淳化阁》”（指《淳化阁》所载钟繇诸刻帖）。此帖笔画、结字都极其自然，章法错落。梁武帝等所说“云鹤游天”，“群鸿戏海”以及“行间茂密”等于此帖表现最为鲜明。钟繇所创造的“钟体”，同王羲之的“王体”是我国书法史上两个历久不衰的艺术典型，影响极其深远。",[24,25,29,188,7],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b01459c23dcc3a188f5b9cf3507377.jpg",[34],83,{"id":193,"slug":194,"title":195,"dynasty":43,"author":196,"museum":197,"description":198,"tags":199,"thumbUrl":200,"material":201,"size":202,"collection":34,"collections":203,"showCount":204,"zanCount":205,"manualWeight":11,"mainColor":91},221053,"wen-fu-quan-juan-lu-jian-zhi-221053","文赋全卷","陆柬之","台北故宫博物院","文赋全卷系唐代陆柬之行书法帖。纸本墨迹卷。书法婉润清丽，甚似《兰亭序》。有赵孟頫、李倜、危素、孙承泽等跋记。李倜此跋字体精劲，舒张得宜，行笔丰瘦有度，温润圆融，颇具右军风韵",[23,24,49,27,26,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c1189ecd1a40b1880c8bc8e430647.jpg","白纸本","纵23.3cm。",[34,69],72,3,{"id":207,"slug":208,"title":209,"dynasty":43,"author":210,"museum":211,"description":212,"tags":213,"thumbUrl":215,"material":87,"size":87,"collection":34,"collections":216,"showCount":204,"zanCount":71,"manualWeight":11,"mainColor":91},221045,"jin-gang-bo-re-bo-luo-mi-jing-juan-liu-hong-gui-shu-tang-chao-yi-feng-yuan-nian-shou-gao-yi-ming-221045","金刚般若波罗蜜经.卷.刘弘珪书.唐朝仪凤元年手稿","佚名","中国国家图书馆","本卷金刚般若波罗蜜经不是一般的金刚般若波罗蜜经，而是中国国家图书馆藏敦煌卷轴——唐朝仪凤元年手稿扫描件制成的，因为该文献略有残缺，更突显了金刚般若波罗蜜经卷轴的珍贵，看惯了简体字的你，或许可以看看唐朝时期的金刚般若波罗蜜经是什么样的。",[23,30,24,25,214,7],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29c7659e45397d5dcba55140d981984.jpg",[34],{"id":218,"slug":219,"title":220,"dynasty":221,"author":222,"museum":171,"description":223,"tags":224,"thumbUrl":227,"material":177,"size":228,"collection":87,"collections":229,"showCount":230,"zanCount":55,"manualWeight":11,"mainColor":38},290226,"dao-de-jing-wu-rui-290226","道德经","元","吴睿","吴睿， 字孟思，号雪涛散人、青云生、养素处士，出生于杭州。因将其所学传递到吴门一带。是吾衍的弟子，擅长书法，尤其精通篆、隶。”他在篆书、隶书、印章方面都接受了吾衍的思想，并在这个基础之上有所发展。《篆书千字文》、《隶书离骚》、《九歌图卷跋》等流传于世。于1355年终于昆山。",[23,24,27,225,30,226,29,7,26],"篆书","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1e531dcb0129a0625d73cecbc77670.jpg","Xcm*Xcm",[],71,{"id":232,"slug":233,"title":234,"dynasty":235,"author":236,"museum":149,"description":237,"tags":238,"thumbUrl":239,"material":28,"size":240,"collection":34,"collections":241,"showCount":230,"zanCount":55,"manualWeight":11,"mainColor":38},221432,"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","宋","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[23,49,25,24,27,175,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[34],{"id":243,"slug":244,"title":245,"dynasty":43,"author":44,"museum":246,"description":247,"tags":248,"thumbUrl":249,"material":87,"size":250,"collection":87,"collections":251,"showCount":252,"zanCount":55,"manualWeight":11,"mainColor":253},232597,"xin-jing-chu-sui-liang-232597","心经","西安碑林博物馆","古往今來，《心經》深受人們喜愛，歷代書法名家和廣大書法愛好者以之練習書法或進行書法創作，既能提高書法水平，又能起到修心養性的作用。\n此拓本褚遂良《心經》，雖然落款「辛丑年 遂良書」，但是很多人認爲是僞托之作。\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，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界。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，究竟涅磐。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭谛揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。",[24,30,25,188,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870e9df1ad4582940f40d44cbf34d87.jpg","高285厘米，宽102厘米",[],67,"37474F",{"id":255,"slug":256,"title":257,"dynasty":235,"author":258,"museum":171,"description":259,"tags":260,"thumbUrl":263,"material":87,"size":87,"collection":87,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":91},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,261,80,48,101,82,84,262,7,85],"宋代","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],65,{"id":267,"slug":268,"title":269,"dynasty":129,"author":270,"museum":271,"description":272,"tags":273,"thumbUrl":275,"material":87,"size":87,"collection":87,"collections":276,"showCount":277,"zanCount":55,"manualWeight":11,"mainColor":38},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","龙美术馆西岸馆","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,80,84,134,81,262,103,274,85,140,7],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],60,{"id":279,"slug":280,"title":281,"dynasty":43,"author":282,"museum":283,"description":284,"tags":285,"thumbUrl":286,"material":64,"size":287,"collection":34,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":38},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。",[23,48,24,64,30,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428b72cda73cc4fd1eae81403a7e27ca.jpg","纵26.0厘米，横265.1厘米",[34],58,{"id":291,"slug":292,"title":293,"dynasty":96,"author":294,"museum":149,"description":295,"tags":296,"thumbUrl":298,"material":87,"size":299,"collection":87,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":253},221980,"ni-jin-bo-luo-mi-duo-jin-gang-jing-wen-zheng-ming-221980","泥金波罗密多金刚经","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,30,25,297,119,7,101],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bedf057a4ed70908119f61b493eb45.jpg","116X31cm",[],56,{"id":303,"slug":304,"title":305,"dynasty":43,"author":306,"museum":171,"description":307,"tags":308,"thumbUrl":310,"material":311,"size":312,"collection":34,"collections":313,"showCount":301,"zanCount":55,"manualWeight":11,"mainColor":91},221085,"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,30,25,27,29,7,309],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[34,69],{"id":315,"slug":316,"title":317,"dynasty":318,"author":319,"museum":171,"description":320,"tags":321,"thumbUrl":324,"material":87,"size":87,"collection":87,"collections":325,"showCount":326,"zanCount":55,"manualWeight":11,"mainColor":91},239655,"li-da-zhi-du-lun-juan-an-hong-song-239655","隶大智度论卷","南北朝","安弘嵩","此卷行草相间，通篇气脉贯通，千言笔墨一气呵成。起笔收锋间兼具写经的端谨虔诚与随性挥洒的灵动，墨色枯润相映，线条粗细交叠，带着六朝书法特有的清逸古雅。字里行间既有抄写佛典的肃穆沉静，又藏着书写者自然流露的文人笔致，章法绵密却不觉壅塞，字字顾盼有情，将宗教的沉静意趣与书法的飞扬神采相融，尽显写经书风的独特韵味，笔底沉潜着书写时的专注与敬虔。",[23,24,322,30,7,27,323,119],"隶书","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e0dd9043d1aa7ac02bebd03554ef95.jpg",[],55,{"id":328,"slug":329,"title":330,"dynasty":43,"author":210,"museum":331,"description":332,"tags":333,"thumbUrl":334,"material":335,"size":336,"collection":34,"collections":337,"showCount":338,"zanCount":55,"manualWeight":11,"mainColor":38},219859,"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","日本京都国立博物馆","《世说新书》是笔记小说集的一种，为中国六朝时代的南朝刘宋文学家临川王刘义庆（403—444）著，将东汉末年到东晋间名士的言行或逸事，以三十八个部门分别集录，并由南朝梁的文学家刘峻（字孝标，462—521）作注。",[23,309,27,25,24,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56aa6c1c5966b809f57b2827d750550.jpg","纸本,水墨","纵27.1cm，横397.0cm",[34],52,{"id":340,"slug":341,"title":342,"dynasty":43,"author":115,"museum":171,"description":343,"tags":344,"thumbUrl":345,"material":28,"size":346,"collection":34,"collections":347,"showCount":348,"zanCount":55,"manualWeight":11,"mainColor":38},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[23,30,24,25,27,48,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[34,69],50,{"id":350,"slug":351,"title":352,"dynasty":96,"author":353,"museum":98,"description":354,"tags":355,"thumbUrl":357,"material":107,"size":87,"collection":88,"collections":358,"showCount":359,"zanCount":55,"manualWeight":11,"mainColor":38},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[80,48,356,81,82,84,7,24,29],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[88],49,{"id":361,"slug":362,"title":363,"dynasty":364,"author":365,"museum":171,"description":366,"tags":367,"thumbUrl":380,"material":177,"size":228,"collection":381,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":253},226148,"da-shi-men-xiao-han-si-huo-er-bai-yin-226148","大使们","不详","小汉斯·霍尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》",[368,369,84,81,85,370,371,372,373,374,375,140,376,139,7,377,378,379],"油画","写实","地球仪","书籍","乐器","科学仪器","桌子","地毯","金属器","写实技法","室内场景","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2fbcb4770ff51108175120146d4681.jpg","油画精选",[381],48,{"id":385,"slug":386,"title":387,"dynasty":221,"author":388,"museum":389,"description":390,"tags":391,"thumbUrl":392,"material":393,"size":394,"collection":34,"collections":395,"showCount":396,"zanCount":397,"manualWeight":11,"mainColor":91},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","赵孟頫","天津博物馆","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 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充实自己，他一方面身体力行地潜心钻研儒家经书，从历代丰富的典籍中汲取有益于自己治国平天下的知识，一方面通过与日讲和经筵的讲官讨论治国安邦之道逐步将孔孟之道、程朱理学确立为统治全国的官方正统思想，借以笼络汉族士大夫，掌握文化思想统治权，巩固清廷的封建统治。“尊孔崇儒”统治观念的树立，为制定、实践其文化政策奠定了坚实的基础。倘若没有饱读诗书与遍览典籍的基础，没有认真踏实、联系实际的学习，恐怕康熙帝无法完成南征北战、一统疆域的伟业，更谈不上治理天下井井有条了。\n《康熙帝读书像》轴为观者展示了大有作为的君主勤勉苦读的一面。图中康熙帝盘腿端坐，凝神静思，仿佛正在深思书中精华。身后书盈满架，排放齐整，传达出像主涉猎广泛、勤勉好学的信息。纵观全图，宫廷画家显然受到了欧洲绘画技法的影响，如人物面部的渲染，及衣服褶皱不用中国画以线条勾画的表现手法而用色彩明暗的变化加以描绘。再如人物背后的书架的透视关系与阴影的表现使用的也是欧洲绘画所特有的技法。这反映出中国画家正在初步尝试用一种外来的艺术技巧创作本国题材的绘画，这是一种有益的探索，也是中西文化交流的一个例证。",[23,80,82,84,81,7,85,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f45dd1e8a9ff283047c0b03cfb9791.jpg","绢本，设色","纵138厘米，横106.5厘米",[],33,{"id":483,"slug":484,"title":485,"dynasty":422,"author":486,"museum":116,"description":487,"tags":488,"thumbUrl":490,"material":491,"size":87,"collection":87,"collections":492,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":38},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","任颐","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[80,48,84,82,81,119,85,103,7,489],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg","纸本水墨",[],{"id":494,"slug":495,"title":496,"dynasty":497,"author":210,"museum":171,"description":498,"tags":499,"thumbUrl":504,"material":177,"size":228,"collection":87,"collections":505,"showCount":506,"zanCount":55,"manualWeight":11,"mainColor":38},226539,"xi-ping-shi-jing-shang-shu-can-shi-yi-ming-226539","熹平石经尚书残石","汉","汉代地下墓室、墓地祠堂、墓阙和庙阙等建筑上雕刻画像的建筑构石。所属建筑，绝大多数为丧葬礼制性建筑，因此，本质上汉画像石是一种祭祀性丧葬艺术。画像石不仅是汉代以前中国古典美术艺术发展的巅峰，而且对汉代以后的美术艺术也产生了深远的影响，在中国美术史上占有承前启后的重要地位。",[23,500,322,188,24,501,502,7,503],"汉代","碑刻","残石","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf339de84418cccc449d6a629987a275.jpg",[],32,{"id":508,"slug":509,"title":510,"dynasty":364,"author":210,"museum":171,"description":511,"tags":512,"thumbUrl":513,"material":177,"size":228,"collection":87,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":38},290630,"bao-ta-xin-jing-shou-gao-yi-ming-290630","宝塔心经手稿","这帧残页纸色泛黄古旧，虫蛀圆痕带着岁月浸蚀的痕迹，自带沉静古韵。字迹取唐人写经笔意，中锋行笔瘦挺端雅，墨色沉凝质朴，经文排布错落雅致，内敛肃穆的禅意藏于笔锋起落之间。残损的形制非但未减风采，反而赋予其残缺古雅之美，仿佛能窥见抄经时，执笔人沉心敛神的虔诚姿态，笔墨晕染着佛门特有的静谧安然，将千年时光里的禅意温度封存在纸页之上。",[24,30,119,25,104,7,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668384200549e969b5da74717b6060c.jpg",[],31,{"id":517,"slug":518,"title":519,"dynasty":364,"author":210,"museum":520,"description":521,"tags":522,"thumbUrl":523,"material":28,"size":524,"collection":34,"collections":525,"showCount":515,"zanCount":205,"manualWeight":11,"mainColor":38},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","美国弗瑞尔美术馆","该卷经文用笔犀利\n行笔淋漓尽致",[23,30,24,25,27,119,7,29,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[34],{"id":527,"slug":528,"title":529,"dynasty":43,"author":210,"museum":171,"description":530,"tags":531,"thumbUrl":533,"material":87,"size":87,"collection":34,"collections":534,"showCount":535,"zanCount":11,"manualWeight":11,"mainColor":91},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[23,309,30,25,24,27,119,7,532,323],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[34],30,{"id":537,"slug":538,"title":539,"dynasty":43,"author":210,"museum":171,"description":540,"tags":541,"thumbUrl":542,"material":87,"size":87,"collection":34,"collections":543,"showCount":535,"zanCount":55,"manualWeight":11,"mainColor":38},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,80,48,24,30,25,119,7,309,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[34],{"id":545,"slug":546,"title":547,"dynasty":364,"author":210,"museum":171,"description":548,"tags":549,"thumbUrl":550,"material":177,"size":228,"collection":87,"collections":551,"showCount":552,"zanCount":55,"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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首绘曼陀罗一幅，次经文，有变相图案，又八菩萨带经文，最后八菩萨详图，均为手绘。总长340厘米，宽30厘米。此经有大量手绘的佛像图案，当属国宝级藏品，原先为日本收藏家中村不折于中国敦煌带回日本，藏于其私人博物馆；现已不存，为罕见的敦煌写经中的绘图变相珍品，对研究古典佛学艺术有重要的参考价值。此部经书曾于20世纪40年代在日本发行过珂珞版。",[119,30,24,84,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fedf0383e9598f1d84648d58651650b.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":96,"author":97,"museum":116,"description":647,"tags":648,"thumbUrl":650,"material":107,"size":87,"collection":87,"collections":651,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":38},218025,"za-hua-ce-6-chen-hong-shou-218025","杂画册-6","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[80,48,649,84,81,82,49,103,7,29],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d621bec8e19bfddf815ee74ab5a3807.jpg",[],{"id":653,"slug":654,"title":655,"dynasty":235,"author":656,"museum":171,"description":657,"tags":658,"thumbUrl":660,"material":177,"size":228,"collection":87,"collections":661,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":38},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[23,48,24,27,49,29,7,175,659],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],23,{"id":664,"slug":665,"title":666,"dynasty":43,"author":210,"museum":171,"description":667,"tags":668,"thumbUrl":669,"material":87,"size":87,"collection":34,"collections":670,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":91},221116,"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[23,24,30,119,7,25,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[34],{"id":672,"slug":673,"title":674,"dynasty":364,"author":210,"museum":464,"description":675,"tags":676,"thumbUrl":677,"material":177,"size":228,"collection":87,"collections":678,"showCount":679,"zanCount":55,"manualWeight":11,"mainColor":91},287939,"da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-ba-shi-qi-shou-gao-yi-ming-287939","大般若波羅密多經卷第三百八十七手稿","此卷小楷密布全篇，笔致挺秀匀净，排布齐整却暗藏灵动法度。朴拙清雅的笔墨间，带着写经的恭谨肃穆，亦暗含书写者的笔墨情致，尽显中古写经一脉传承的风貌。历经岁月涤荡，纸色晕染泛黄，边缘残损斑驳，却更添沉厚的历史质感。字字如列雁齐飞，在泛黄卷面上铺展开静谧的宗教笔墨世界，将经文的肃穆与书法的清雅融为一体，默默承载着千年前的抄写时光，带着封存的丝路余韵，诉说着往昔的信仰与笔墨温度。",[27,30,24,25,119,467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024b306f2c9fe3d786b3deff09fbedf.jpg",[],22,{"id":681,"slug":682,"title":683,"dynasty":43,"author":684,"museum":171,"description":685,"tags":686,"thumbUrl":687,"material":87,"size":87,"collection":87,"collections":688,"showCount":679,"zanCount":55,"manualWeight":11,"mainColor":38},230910,"zhu-ju-chuan-gao-shen-xu-hao-230910","朱巨川告身","徐浩","徐浩（7—782），字季海，越州会稽人。\n徐浩出生于书法世家，其祖父徐师道，父亲 ，都擅长书法。\n徐浩出生于会稽，因此后人称他为“会稽”、“徐会稽”，又因他在唐代宗时任吏部侍郎，又称作“徐吏部”，他的父亲徐峤，人称“大徐”，而又以“小徐”指代徐浩。\n徐浩《古迹记》中说他祖父“真、行、草，皆名冠古今，无与为比”，是与事实相符的。\n他生活在祖、父辈都善书的环境中，得到家学传授，其书法精能，也是必然的。\n《宣和书谱》评之曰：“师道已精于书，峤之复以善书称，且以法授其子浩，故浩又杰然为一家法。\n自师道到浩盖三世矣，是亦熟于翰墨之场者也。\n” 谒禹庙唐- 亩浍敷四海，川源涤九州。\n既膺九命锡，乃建洪范畴。\n鼎革固天启，运兴匪人谋。\n肇开宅土业，永庇昏垫忧。\n山足灵庙在，门前清镜流。\n象筵陈玉帛，容卫俨戈矛。\n探穴图书朽，卑宫堂殿修。\n梅梁今不坏，松祏古仍留。\n负责故乡近，朅来申俎羞。\n为鱼知造化，叹凤仰徽猷。\n不复闻夏乐，唯馀奏楚幽。\n婆娑非舞羽，镗鞳异鸣球。\n盛德吾无间，高功谁与俦。\n灾淫破凶慝，祚圣拥神休。\n出谷莺初语，空山猿独愁。\n春晖生草树，柳色暖汀州。\n恩贷题舆重，荣殊衣锦游。\n宦情同械系，生理任桴浮。\n地极临沧海，天遥过斗牛。\n精诚如可谅，他日寄冥搜。\n唐玄宗时，宰相张说见徐浩所作《喜雨》、《五色鸽》两赋，十分器重，荐为丽正殿校理，后改监察御史里行，出为河阳令，又任都官郎中，岭南选补史等职。\n肃宗即位，由襄州刺史召为中书舍人。\n徐浩因擅书法，文字富丽，当时四方诏令以至玄宗传位诏册，多出其手。\n肃宗爱其才，加兼尚书右丞。\n后为国子祭酒，因事贬为庐州长史。\n代宗即位，征拜中书舍人，集贤殿学士，迁工部侍郎，封会稽县公。\n后出为岭南节度使，后又召为吏部侍郎，主持官吏选拔举荐工作，因包庇妾弟冒选长安尉，被御史弹劾，贬为明州别驾。\n德宗初年，又召为彭王傅，进爵郡公。\n年八十去世，赠太子少师，谥“定”。\n徐浩传世书迹有隶书《嵩阳观圣德感应颂》、《张庭 墓志》 （1977年伊川出土），楷书《朱巨川告身》 （墨迹本）、《大征禅师碑》、《虢国公遗像记》、《 》、《宝林寺诗帖》、《不空和尚碑》，近些年又新出土徐浩书写的楷书墓志碑：《李岘妻墓志》、《李岘墓志》、《陈尚仙墓志》。\n撰有《书法论》一篇。\n徐浩所处的时代，正是唐朝由极盛渐入衰弱的时期，尤其在开元天宝年间，虽然时局动荡，但书家辈出，涌现了张旭、颜真卿、褚庭诲、张少悌、韩泽木等名家。\n徐浩比颜真卿年长六岁，早逝三年，二人曾过从甚密。\n二人对书法亦长时间有过切磋，所以二人书法风格亦相近。\n现在留下的徐浩的书迹，最早的是他岁时所写的《陈尚仙墓志》，于2年春出土于河南洛阳红山乡，该志全称《唐御史大夫张公故夫人陈氏墓志铭并序》，由唐代大诗人“朝议郎行尚书司门袁外郎张鼎”撰文，“右拾遗徐浩书”。\n墓主的丈夫张守 ，是唐代名将。\n该墓志史料价值大，足以补史、证史，志高72厘米，宽7厘米，青石质。\n志文25行，满行25字，楷书，有界格。\n这是目前所能见到的徐浩最早的书法作品。\n这通墓志铭书法清雅秀逸，点画净洁爽朗，笔势流畅，顾盼生姿，可以见出王羲之一脉之流绪，与虞世南、褚遂良的书法韵味神态相类，字画瘦硬，骨力遒劲。\n结体宽博，平正刚健，气韵自足，婉美华丽。\n从这篇墓志中，可以看出徐浩早年书法宗逸少之飘逸，兼及伯施之秀润，善登之平正与瘦劲。\n在西安市长安区郭杜镇2年出土的另一方墓志《李岘妻独孤峻墓志铭》，刊葬于天宝十三年（754），志石边长72.5厘米，志文三十一行，满行三十一字，楷书，李岘撰文，徐浩书丹。\n长安博物馆收藏。\n夫妻两通墓志现均已纳入《中国古代珍稀碑帖丛书》出版。\n墓主独孤峻，河南人，15岁嫁给梁国公李岘（后为肃宗朝宰相），封南华县君，婚后二十年即天宝十二载病逝于李岘当时任职的魏郡，享年9岁。\n徐浩书此碑时年52岁，其书法风格更饶灵逸气息和圆和姿态。\n与褚遂良书法结体相类，字形宽疏，横画细长，撇捺舒展，“锋藏画心，力出字外”（元陶宗仪语），正如徐浩书四十二幅屏中言：“朔风动秋草，边马有归心。\n”给人一种苍茫辽阔之感受。\n《李岘墓志》全称《唐故光禄大夫检校兵部尚书兼衢州刺史充本州团练使赠太子少师上柱国梁国公李岘墓志铭》，与《李岘妻墓志》同出土于西安市长安区郭杜镇，志为正方形青石制成，边长91厘米，厚14厘米，共2行，满行字，共计15字，字体楷书。\n墓主人李岘字延鉴，其曾祖为唐太宗李世民之第三子吴王恪。\n此碑书风与颜真卿《多宝塔》笔意相近。\n徐浩长颜真卿六岁，徐浩书此书时年64岁，书法已臻佳境，点画刚劲，结字宽雄，笔势舒展爽利，谦谦如君子乎，蕴藉却又自显生动、流畅，非常耐得起咀嚼、玩味，似在颜真卿《多宝塔》格调之上。\n徐浩在68岁时所书《大德大证禅师碑》以褚遂良的结体为法，形体稍见疏瘦，楷法中规入矩，遒媚劲健蕴藉，但略显板滞。\n此碑石现存河南登封嵩岳寺。\n碑高八尺，广尺9寸。\n计25行，行52字，篆额行9字。\n碑文由王缙所撰。\n此碑残存6余字，能辨认者有余字。\n写于同时期的留存墨迹《朱巨川告身》因无徐浩署名而有争议，然有标签，为清代梁清题作“徐季海书朱巨川告”，由徐浩书于唐代宗大历三年（768），书体以楷书为主而参用行书笔法，所谓疏欲风神，密欲老气，两者兼而有之，书体整肃，用笔多变，平正婉转，体现出徐浩晚年书作已达炉火纯青。\n徐浩78岁所书《不空和尚碑》 （又名《广智三藏和尚碑》）现存西安碑林，严郢撰文，楷书，计24行，行48字。\n徐浩老年所书，是他楷书典范作品，体现了中唐前期楷体书风经过变革之后的楷法用笔特点。\n此碑书体厚重丰腴，含蓄温润，用笔圆劲深厚，锋藏画心，力出字外，笔画内中裹筋，有雍容大度之气象。\n结体老劲而乏清逸。\n《书史会要》曰：“盖浩书锋画心，力出字外，得意处往往似王羲之，其妙实在楷法也。\n” 《谒禹庙诗帖》拓本，兰亭续帖凡16行，刊于日本《中国书道全集》 （四），《宝林寺诗帖》拓本，凡12行，兰亭续帖，上海博物馆藏，刊于日本 《中国书道全集》（四）。\n这二帧拓本刻帖均是小楷，法度谨严，一丝不苟，结体疏朗，撇、捺、走字底的点画有飘逸之风致，轻盈灵动，与王献之《玉版十三行》风格相近。\n徐浩的书迹据宋赵明诚《金石录》记载有近种，其中楷书12种，行书7种，隶书1种。\n留存于世的隶书代表作品有《嵩阳观纪圣德感应颂》，天宝三年（744）徐浩41岁时所书，李林甫撰文，有文字25行，行5字。\n《张廷 墓志》，天宝五年（746）徐浩4岁时撰文并书，碑文计4行，行7字。\n唐代的楷书因初唐有欧阳询、虞世南、褚遂良、薛稷，中唐有颜真卿、徐浩，晚唐时有柳公权，达到了中国书法楷书的顶峰，但隶书至汉代则已登峰造极。\n唐代隶书比之汉隶则大为逊色。\n明代赵宦光评唐隶“视汉似古而体稍不雅”，清钱泳则认为“别体杂出，有意圭角，擅用挑踢”。\n徐浩的隶书是从汉碑中取法，然又有创新，《嵩阳观纪圣德感应颂碑》笔法十分遒丽，姿态横生，与唐时隶书碑版有所不同，与汉 《娄寿》 碑、《韩仁铭》碑风格相类，清圆疏古，字形扁平，结构紧凑，波画飘逸，给人清劲秀雅之感，也许受唐代时风的影响，有的点画乏篆籀笔意而多用楷法，用笔提按顿挫轻重缓疾的变化也不够，就整体而论，还是中锋圆笔，沉着稳健，有一种雄阔气势。\n《张廷 墓志》笔画更有古雅之态，点画略呈瘦削之状，字势奇崛而有神采。\n而且有用笔风格多变，似更有奇趣。\n因为徐浩隶书碑多，清王澍《虚舟题跋》评曰：“唐人隶书之盛无如季海，隶书之工也无如季海。\n” 有唐一代，越中贡献了三位影响中国书法发展的大家，他们是初唐的虞世南、贺知章，中唐的徐浩。\n三位书法家都长寿，当时他们写下的书法作品也多，影响深远。\n他们留下的书迹为世世代代的中国人所珍藏、学习。\n他们的书法受到后代书法家的很高评价。\n宋朱长文《续书断》中评论徐浩“受书法于父。\n少而清劲，随肩褚、薛；晚益老重，潜精羲、献。\n其正书有可谓妙之又妙也，八分、真、行皆入能。\n尝论书云：鹰隼之彩而翰飞戾天者，骨劲而气猛也； 翟备色而翱翔百步者，肉丰而力沉也。\n若藻曜而高翔，书之凤凰矣。\n故浩之为书，识锐于内，振华于外，有君子之器焉。\n尝书四十二幅屏，八体具备，其朔风动秋草，边马有归心十数字，草隶相参，皆为精绝。\n识者评云：怒猊抉石，渴骥奔泉。\n尤为司空图所宝爱。\n”黄庭坚也认为“唐自欧虞后能备八法者，独徐会稽与颜太师耳。\n然会稽多肉，颜师多骨”，“季海暮年乃更摆脱王氏规模，自成一家”（《山谷题跋》）。\n然而米芾却说徐浩“晚年力过，更无气骨”，清冯班《钝吟书要》则认为米芾所言见解偏颇，说“季海筋在画中，晚年有一种渴骥奔泉之势，老极，所以熟而不俗”。\n古人对徐浩书法的评论见仁见智，若从书法史的发展来看，唐初的几位楷书大家已立唐法，到中唐，书体继续求变，希望突破二王，有所变化，探索一种在法度中寻自由抒情的方式。\n徐浩的书法体现出了这种努力，因此中唐的楷书大都仿效之。\n徐浩的书法可以说是中唐的一面旗帜。",[25,24,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017762d93cc0369c285afeda6809bbef.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":43,"author":210,"museum":171,"description":693,"tags":694,"thumbUrl":695,"material":87,"size":87,"collection":34,"collections":696,"showCount":679,"zanCount":55,"manualWeight":11,"mainColor":38},223536,"fa-hua-jing-fang-bian-pin-yi-ming-223536","法华经方便品","此品与寿量品，是《法华经》的两大中心，为本经正宗分。佛由三昧起，称叹诸佛智慧甚深无量，难解难入，佛说诸佛究竟了知诸法实相——“十如是”。为令声闻、缘觉二乘人断苦缚，得涅槃，佛以方便力，曾分说三乘之教，今日所说才是佛的真实教法。五千增上慢者退席，佛乃宣示唯一大事因缘，所谓开、示、悟、入佛之知见；一切众生皆当作佛，实无三乘。",[24,30,25,119,7,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa975179b3b6f59e9b8f0cfdd5438601e.jpg",[34],{"id":698,"slug":699,"title":700,"dynasty":235,"author":701,"museum":149,"description":702,"tags":703,"thumbUrl":705,"material":28,"size":706,"collection":34,"collections":707,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":38},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","张即之","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,704,48,27,49,24,29,7],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[34],{"id":709,"slug":710,"title":711,"dynasty":96,"author":97,"museum":171,"description":712,"tags":713,"thumbUrl":716,"material":177,"size":228,"collection":87,"collections":717,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":91},287344,"xiao-shu-tu-chen-hong-shou-287344","校书图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,80,48,101,84,81,102,103,7,29,24,714,715],"文人","校书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb6ed904b9db960628b800d036e09ae.jpg",[],21,{"id":720,"slug":721,"title":722,"dynasty":221,"author":723,"museum":171,"description":724,"tags":725,"thumbUrl":726,"material":177,"size":228,"collection":87,"collections":727,"showCount":718,"zanCount":71,"manualWeight":11,"mainColor":91},241469,"jin-gang-jing-juan-gu-xin-241469","金刚经卷","顾信","代太仓墨妙亭与淮云寺的建造者顾信是元末名人昆山顾阿瑛的父亲",[23,24,30,25,27,29,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30ad66996841ada2b78c2b273b72b4e.jpg",[],{"id":729,"slug":730,"title":731,"dynasty":732,"author":210,"museum":171,"description":733,"tags":734,"thumbUrl":735,"material":87,"size":87,"collection":34,"collections":736,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":91},239683,"da-ji-jing-juan-yi-ming-239683","大集经卷","隋","无款董孝赞大方等",[23,24,30,27,25,119,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205cba82e2836f633d25bd2be3a039c1.jpg",[34],{"id":738,"slug":739,"title":740,"dynasty":422,"author":423,"museum":171,"description":741,"tags":742,"thumbUrl":743,"material":28,"size":87,"collection":87,"collections":744,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":448},223264,"fu-shuo-wu-da-shi-jing-hong-yi-fa-shi-223264","佛说五大施经","《佛说五大施经》全文共154字，言五大施者即不杀生、不偷盗、不邪染、不妄语、不饮酒，若能做到即处天上或人间也得安隐乐。弘一法师晚年书法称「弘一体」，拙朴天真有如老僧入定，火气全无，平淡至极。正如他所言：「朽人之字所示者，平淡、恬静、冲逸之致也。」",[23,24,30,25,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0969ea3f16997017e0ce7c6a7fdf2c77.jpg",[],{"id":746,"slug":747,"title":748,"dynasty":749,"author":159,"museum":98,"description":750,"tags":751,"thumbUrl":753,"material":87,"size":87,"collection":754,"collections":755,"showCount":718,"zanCount":11,"manualWeight":11,"mainColor":756},203078,"kang-you-wei-fu-ren-xiang-xu-bei-hong-203078","康有为夫人像","近代","女子身着素白长袍，衣缘以靛蓝勾勒，线条雅致，尽显温婉端庄。她立于庭院一角，身旁石桌叠放典籍，指尖轻触书页，似含沉静书卷气。背景绿植、花钵与远山淡影相映，中西绘画技法交融，既保留传统人物画神韵，又以写实笔触刻画细节，衣褶质感与面部神情细腻生动，传递出人物内敛气质与时代文化印记。",[368,81,84,7,752,23],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8b94007c4787acd9155bef28ac8931.jpg","山水画精选",[754],"d1c3a4",{"id":758,"slug":759,"title":760,"dynasty":761,"author":762,"museum":171,"description":763,"tags":764,"thumbUrl":769,"material":177,"size":228,"collection":87,"collections":770,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":91},288985,"tao-er-tu-zhou-wen-ju-288985","掏耳图","五代十国","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[80,82,84,81,714,765,766,767,768,7,29],"侍童","掏耳","室内","书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b197e393b63bd3df8b5aa3efd2c13f1.jpg",[],19,{"id":773,"slug":774,"title":775,"dynasty":422,"author":776,"museum":197,"description":777,"tags":778,"thumbUrl":781,"material":87,"size":782,"collection":69,"collections":783,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":253},222688,"shu-wu-liang-shou-fo-jing-ce-ruan-yuan-222688","书无量寿佛经册","阮元","阮元（1764年2月21日 [110] －1849年11月27日 ），字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 。生平著述丰富，撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[779,25,30,649,445,29,24,7,780],"清代","装饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66e7fce4cddb8dbe65e647ec9a947ab.jpg","25.3x50.8 厘米",[69],{"id":785,"slug":786,"title":787,"dynasty":235,"author":210,"museum":171,"description":788,"tags":789,"thumbUrl":790,"material":87,"size":87,"collection":69,"collections":791,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":91},242217,"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","此拓本墨色苍润沉凝，字口锋棱宛然留存。行书笔致灵动舒展，遒劲与秀逸兼具，尽显晋人尺牍的萧散风神。\n\n字间排布错落暗含章法，笔势映带自然，将魏晋名士疏朗通脱的气质藏在点捺流转之中。虽经刊刻拓印，却未掩笔法精妙细节，提按转合间的细腻意趣清晰可见，尽显刻帖的金石意趣与书法本身的隽雅风骨，让观者得以窥见古法书韵的雅致精妙。",[24,188,26,31,49,322,225,64,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[69],17,{"id":794,"slug":795,"title":796,"dynasty":221,"author":797,"museum":171,"description":798,"tags":799,"thumbUrl":800,"material":87,"size":87,"collection":34,"collections":801,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":38},239905,"zhuang-zi-nei-pian-juan-yu-ji-239905","庄子内篇卷","虞集","虞集（1272年3月21日－1348年6月20日），字伯生，号道园，世称邵庵先生 。祖籍成都仁寿（今四川省眉山市仁寿县），临川崇仁（今江西省抚州市崇仁县）人 。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[23,24,27,49,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[34],{"id":803,"slug":804,"title":805,"dynasty":364,"author":806,"museum":171,"description":807,"tags":808,"thumbUrl":815,"material":177,"size":228,"collection":381,"collections":816,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":253},225824,"still-life-with-bible-october-fan-gao-225824","Still life with Bible (October - )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[368,809,810,811,7,812,813,374,814],"厚涂","后印象派","静物","蜡烛","烛台","书本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3aa4e9d613c061cd554434971d94be.jpg",[381],{"id":818,"slug":819,"title":820,"dynasty":43,"author":210,"museum":171,"description":821,"tags":822,"thumbUrl":823,"material":87,"size":87,"collection":34,"collections":824,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":38},221119,"gu-wen-shang-shu-di-liu-juan-yi-ming-221119","古文尚书第六卷","这卷纸本墨书纸色黄褐斑驳，残损处晕开旧时光晕。其书为唐人小楷，笔意朴茂端雅，承魏晋写经遗风，行笔匀净安稳，结体方整古拙，字字凝练沉静。行间留存多处涂改标注，是钞录时的鲜活痕迹，带着手抄典籍的温度。它兼具书法艺术与文献双重价值，笔墨间尽显唐人笃实沉厚的抄录态度，简淡静雅的书风晕染着千年古籍的朴茂古意，残损的纸页更添岁月赋予的厚重质感，静静诉说着唐时经籍传抄的旧日风貌。",[23,24,27,7,25,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723f26cb993dd22b55d581b75c4f4496.jpg",[34],{"id":826,"slug":827,"title":828,"dynasty":96,"author":829,"museum":171,"description":830,"tags":831,"thumbUrl":834,"material":177,"size":228,"collection":87,"collections":835,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":91},283608,"san-cai-tu-hui-yi-bai-liu-juan-wang-qi-283608","三才图会一百六卷","王圻","王圻（1530年～1615年），明文献学家、藏书家。字元翰，号洪洲，上海人，祖籍江桥（时属青浦县）。幼年就读于诸翟，明嘉靖四十四年（1565）进士，授清江知县，调万安知县，升御史。以敢于直言，与宰相张居正等相左，黜为福建金事。继又降为邛州判官、张居正去世后，王圻复起，任陕西提学使、神宗傅师、中顺大夫资治尹，授大宗宪。",[7,832,25,833],"木刻","天文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3071938df4d381bbba2d3033791c1f2c.jpg",[],16,{"id":838,"slug":839,"title":840,"dynasty":422,"author":210,"museum":171,"description":841,"tags":842,"thumbUrl":844,"material":177,"size":228,"collection":87,"collections":845,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":38},275861,"bai-yu-qian-long-yu-lin-zhao-meng-fu-shu-hong-fan-ce-yi-ming-275861","白玉乾隆御临赵孟頫书洪范册","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[649,843,24,31,25,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5807e495d6f1e030e0426fb0234f1858.jpg",[],{"id":847,"slug":848,"title":849,"dynasty":235,"author":210,"museum":171,"description":850,"tags":851,"thumbUrl":852,"material":87,"size":87,"collection":69,"collections":853,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":91},242214,"chun-hua-ge-tie-yi-ming-242214","淳化阁帖","此作为行书刻帖，点画灵动秀逸，提按转折间尽显二王一脉的隽永风神。结体欹正相生，字势错落又彼此顾盼，行气连贯悠长。虽为刻拓本，却精准还原原作笔墨细节，刀痕隐于笔意之下，墨色沉凝古雅，将尺牍随性自然的意趣与端雅气度相融。\n\n所录书札既有日常手翰的松弛灵动，亦不失雍容之韵，刻工精妙，完整留存了原作使转的细腻层次，尽显宋刻法帖的典型风貌，是兼具临习价值与鉴藏意义的行书佳范。",[24,188,26,49,25,7,31,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[69],{"id":855,"slug":856,"title":857,"dynasty":221,"author":210,"museum":171,"description":858,"tags":859,"thumbUrl":860,"material":177,"size":228,"collection":87,"collections":861,"showCount":836,"zanCount":11,"manualWeight":11,"mainColor":38},239723,"yuan-ming-ren-shu-ce-zhao-meng-fu-yu-hang-zhou-qi-jue-yi-ming-239723","元明人书册-赵孟頫寓杭州七绝","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[24,49,649,48,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44dd4cf8948445a502c908ef7a3bbe1.jpg",[],{"id":863,"slug":864,"title":865,"dynasty":43,"author":306,"museum":45,"description":866,"tags":867,"thumbUrl":868,"material":869,"size":312,"collection":34,"collections":870,"showCount":871,"zanCount":55,"manualWeight":11,"mainColor":38},239680,"shan-jian-lv-juan-guo-quan-239680","善见律卷","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,30,25,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b60fa620e7960390a17b52368f799f.jpg","纸本，楷书",[34],15,{"id":873,"slug":874,"title":875,"dynasty":43,"author":210,"museum":171,"description":876,"tags":877,"thumbUrl":878,"material":87,"size":87,"collection":34,"collections":879,"showCount":871,"zanCount":55,"manualWeight":11,"mainColor":91},221120,"da-ban-nie-pan-jing-di-er-shi-er-juan-yi-ming-221120","大般涅槃经第二十二卷","此卷小楷笔致朴拙温雅，结体端稳暗含灵动意趣，起收间带着沉静禅意。墨色沉郁苍古，晕染在泛黄斑驳的纸面之上，与岁月留下的痕迹相融，晕开千年的沉静质感。\n\n通卷书写匀净工稳，既恪守抄经的庄重法度，又自然流露书写者松弛的笔意，朱印错落点缀其间，为古卷更添传世厚重底蕴，是宗教文本与书法美学的相融之作，尽显晚唐写经的典型风骨，静静诉说着时光里的虔敬雅致。",[23,30,24,25,27,119,309,7,323,532,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b70d2d532ac513d52eaa3284f09d462.jpg",[34],{"id":881,"slug":882,"title":883,"dynasty":422,"author":884,"museum":171,"description":885,"tags":886,"thumbUrl":887,"material":177,"size":228,"collection":34,"collections":888,"showCount":889,"zanCount":11,"manualWeight":11,"mainColor":38},241173,"qing-ren-ji-jin-ce-chu-ci-jiao-kan-du-zhu-shi-yi-er-ce-qi-ji-ye-weng-fang-gang-241173","清人集锦册-初次校勘杜注拾遗二册讫记页","翁方纲","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[24,49,649,29,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567ca0e2d3d58e8209a59408b25229d7.jpg",[34],14,{"id":891,"slug":892,"title":893,"dynasty":43,"author":210,"museum":171,"description":894,"tags":895,"thumbUrl":896,"material":87,"size":87,"collection":34,"collections":897,"showCount":889,"zanCount":11,"manualWeight":11,"mainColor":38},227218,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-yi-ming-227218","王勃集第二十九卷残卷","唐佚名、王勃集第二十九卷残卷残卷，纵25.2cm，横21.8cm，存十二行，每行十四至十五字不等。乌丝栏界。楮纸色偏灰白，有虫蛀纸背为平安时期日僧书写戒文，复经日本皮纸托裱。",[23,7,27,24,25,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a5b00e03e821d0cab6ee22783e7428.jpg",[34],{"id":899,"slug":900,"title":901,"dynasty":422,"author":902,"museum":171,"description":903,"tags":904,"thumbUrl":906,"material":177,"size":228,"collection":87,"collections":907,"showCount":889,"zanCount":11,"manualWeight":11,"mainColor":38},224541,"qing-ji-yun-qin-ding-si-ku-quan-shu-jian-ming-mu-lu-ji-bu-juan-ji-yun-224541","清纪昀钦定四库全书简明目录（集部）卷","纪昀","卷轴以仿宋式盘绦纹织锦包首，镶嵌青玉轴头，淡绿、浅黄双色绫天头，洒金笺引首，浅黄色绫隔水，海水江牙杂宝纹缥带，上端系青白玉别扦。各卷首末均钤“乾隆御览之宝”，各卷末下方署“臣纪昀恭书”并钤“纪”“昀”朱文联珠小印。\n乾隆帝认为《四库全书总目》卷帙浩繁，不易翻阅，于乾隆三十九年（1774年）命四库馆臣纪昀等另编《四库全书简明目录》。总纂官纪昀等人略去《四库全书》各类总序、小序和存目类各书提要，并将其他各书提要也大加压缩，“只载某书若干卷，注某朝某人撰”，于乾隆四十七年（1782年）汇成《四库全书简明目录》二十卷，进呈御览，由内府收藏。\n纪昀从《四库全书简明目录》中又选出最精要的内容亲笔撰写，只写书名、著者及卷数，略去存目类各书，缮成此精选本。此书无序跋，以经、史、子、集四部分类，类下列细目，每目之下各书分上下两栏书写，以小楷抄成四轴，每轴一卷，从左至右卷为一束，合装于红木书盒内，进呈皇上，以方便乾隆帝出行携带。\n此书装帧技艺精湛，仿宋锦古朴典雅，质地紧密厚实，反映了清内府书籍装潢的艺术风格。",[24,25,905,29,7,48,27,84],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e922250739de2d8cace106951324f5c.jpg",[],{"id":909,"slug":910,"title":911,"dynasty":422,"author":912,"museum":45,"description":913,"tags":914,"thumbUrl":920,"material":87,"size":921,"collection":87,"collections":922,"showCount":889,"zanCount":11,"manualWeight":11,"mainColor":38},223220,"geng-zhi-tu-ce-jiao-bing-zhen-223220","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[80,915,82,84,81,916,917,918,919,24,7,832],"册页","农耕","田园","水田","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg","34.7cm×27.7cm",[],{"id":924,"slug":925,"title":926,"dynasty":235,"author":927,"museum":171,"description":928,"tags":929,"thumb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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[80,704,48,649,84,81,24,25,29,7,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49759540763d1ee76c2102c5c8a4c97.jpg",[],13,{"id":934,"slug":935,"title":936,"dynasty":43,"author":44,"museum":171,"description":937,"tags":938,"thumbUrl":939,"material":177,"size":228,"collection":87,"collections":940,"showCount":932,"zanCount":11,"manualWeight":11,"mainColor":91},287600,"du-ren-jing-chu-sui-liang-287600","度人经","度人经全称《太上洞玄灵宝无量度人上品妙经》, 是一部道教神学作品。被后世明代《正统道藏》列为开篇经书。号称群经之首、万法之宗、一切法界之源头。是道教太上洞玄灵宝派的核心经典",[24,188,25,30,119,26,226,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7145e00f50939d2ed654596e5dd57337.jpg",[],{"id":942,"slug":943,"title":944,"dynasty":364,"author":945,"museum":171,"description":946,"tags":947,"thumbUrl":952,"material":177,"size":228,"collection":381,"collections":953,"showCount":932,"zanCount":11,"manualWeight":11,"mainColor":253},225691,"rembrandt-van-rijn-apostle-paul-lun-bo-lang-225691","Rembrandt van Rijn -- Apostle Paul","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[368,948,949,950,7,951,369],"宗教画","人物画","男性","使徒保罗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde90660f95e87bb2f559abce9d972b25.jpg",[381],{"id":955,"slug":956,"title":957,"dynasty":235,"author":958,"museum":171,"description":959,"tags":960,"thumbUrl":964,"material":177,"size":228,"collection":87,"collections":965,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":38},289590,"shi-jing-bin-feng-tu-ti-ba-ma-yuan-289590","诗经豳风图（题跋）","马远","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,27,24,25,961,962,29,7,963],"题跋","御题","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37aab0d7d86d8b6fc5d45dbee8aa827a.jpg",[],12,{"id":968,"slug":969,"title":970,"dynasty":497,"author":210,"museum":171,"description":971,"tags":972,"thumbUrl":974,"material":177,"size":228,"collection":87,"collections":975,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":91},288113,"han-jian-mo-ji-yi-ming-288113","汉简墨迹","汉代的书法有两大系统，一是碑刻文字，一是简牍墨迹，它们都是在纸未发明以前或未大量使用以前的书籍文献。由于材料不同，书写的工具不同、内容不同，形制不同及书写者的身份不同，因而表现出各自不同的艺术风格。\n汉简书写的文字内容或是书信记事，或是公文报告，因而不拘形迹，草率急就者居多。汉简受简面狭长、字迹小的限制。但章法布局仍能匠心独运，错落有致，随意挥洒。\n汉简的文字，篆、隶、真、行、草（章草）各体具有。汉简在书写思想上没有受到那么多的束缚，因此，表现出丰富的创造力。",[24,322,139,7,973],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d2c75f1582ee2e8b5fbc556a2e82f2.jpg",[],{"id":977,"slug":978,"title":979,"dynasty":422,"author":210,"museum":171,"description":980,"tags":981,"thumbUrl":985,"material":177,"size":228,"collection":87,"collections":986,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":38},273979,"he-huan-hua-deng-di-zhang-yi-ming-273979","《合欢花等底账》","这帧线装旧册装帧雅致，米黄封皮衬缠枝暗纹，古朴静穆。竖排题字端方厚重，带着晚清楷书的端正意趣。\n\n内页蝇头小楷工整细密，一笔一划皆带着认真肃穆，藏着百年前市井商贸的烟火日常。泛黄纸页上的细密字迹，是清末商号营生的微观注脚，将冰冷的流水账晕染出鲜活的市井温度，复刻着远去年代里掌柜伙计的营生日常，在墨香纸色之间，静静留存住晚清商贸的细碎切片，让远去的市井营生，在旧纸余温中可触可感。",[982,7,25,983,984],"线装","账本","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267e91ace495e6f624788ab12f92378d.jpg",[],{"id":988,"slug":989,"title":990,"dynasty":43,"author":210,"museum":171,"description":991,"tags":992,"thumbUrl":993,"material":87,"size":87,"collection":34,"collections":994,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":38},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[23,30,24,27,119,25,7,29,134,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[34],{"id":996,"slug":997,"title":998,"dynasty":235,"author":999,"museum":171,"description":1000,"tags":1001,"thumbUrl":1002,"material":177,"size":228,"collection":87,"collections":1003,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":38},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,24,30,27,49,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":235,"author":1008,"museum":171,"description":1009,"tags":1010,"thumbUrl":1011,"material":87,"size":87,"collection":87,"collections":1012,"showCount":966,"zanCount":55,"manualWeight":11,"mainColor":91},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,704,80,48,27,83,84,81,24,49,29,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":364,"author":210,"museum":464,"description":1017,"tags":1018,"thumbUrl":1019,"material":177,"size":228,"collection":87,"collections":1020,"showCount":1021,"zanCount":55,"manualWeight":11,"mainColor":38},287627,"jin-gang-bo-re-bo-luo-mi-jing-yi-ming-287627","金剛般若波羅蜜經","这件写本以小楷书就，笔墨清隽秀雅，点画凝练端稳，通篇排布匀整舒朗。写经者笔底带着至诚恭敬，法度谨严却不失舒展灵韵，既恪守写经的肃穆规整，又暗合文人小楷的雅致气度，一字一画皆可见沉静心性。泛黄的卷纸带着岁月浸蚀的痕迹，纸面的褶皱晕染晕开了跨越时光的沉静禅意，让它兼具宗教修行的虔诚内核与古典书法的审美价值。",[27,24,25,30,467,7,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd380665130bb808f92455063a9b94b14.jpg",[],11,{"id":1023,"slug":1024,"title":1025,"dynasty":96,"author":453,"museum":171,"description":1026,"tags":1027,"thumbUrl":1029,"material":177,"size":228,"collection":87,"collections":1030,"showCount":1021,"zanCount":55,"manualWeight":11,"mainColor":91},283723,"wu-jing-yi-lun-ce-dong-qi-chang-283723","五经一论册","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。",[24,25,649,48,1028,7],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce40c4274da2832cdc13b63d0b4a4cb4.jpg",[],{"id":1032,"slug":1033,"title":1034,"dynasty":221,"author":1035,"museum":45,"description":1036,"tags":1037,"thumbUrl":1038,"material":28,"size":1039,"collection":34,"collections":1040,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":38},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,704,80,48,27,49,24,29,26,7,104,105,137,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[34],{"id":1042,"slug":1043,"title":169,"dynasty":364,"author":210,"museum":171,"description":1044,"tags":1045,"thumbUrl":1047,"material":177,"size":228,"collection":87,"collections":1048,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":38},230528,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-yi-ming-230528","此卷小楷端秀匀整，笔势圆融温润，暗合唐人写经笔法遗韵。行字排布疏朗舒和，墨色经岁晕染斑驳，更添沉厚古意。抄录诗文笔致恭谨，字句间可窥昔人传抄时的用心。泛黄纸页上的水渍晕痕，如时光烙下的印鉴，晕开旧时光晕，将千载前的文思与笔墨温度一并留存。落笔藏锋敛锷，筋骨暗藏，既有法度又不失灵动，尽显雅致风骨，静静诉说着典籍流转的悠悠岁月。",[24,25,1046,7,323,28],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60ce269c7c8751a2d646ce35d8405e6.jpg",[],{"id":1050,"slug":1051,"title":1052,"dynasty":364,"author":806,"museum":171,"description":807,"tags":1053,"thumbUrl":1060,"material":177,"size":228,"collection":381,"collections":1061,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":91},225857,"three-books-fan-gao-225857","Three books",[368,810,811,7,1054,1055,1056,1057,1058,1059],"厚涂法","椭圆形构图","笔触","暖色调","静物写生","色彩浓郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ff6fc81c1fa5fa7c343945d698fd6.jpg",[381],{"id":1063,"slug":1064,"title":1065,"dynasty":96,"author":210,"museum":98,"description":1066,"tags":1067,"thumbUrl":1068,"material":87,"size":87,"collection":88,"collections":1069,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":1070},201743,"wang-shou-ren-xiang-zhou-yi-ming-201743","王守仁像轴","画面中王守仁端坐凝思，儒冠长袍裹着清雅风骨，长髯垂落间尽显温润气度。笔墨以简练白描勾勒衣纹，线条流转如春风拂柳，面部刻画工细传神，眼神沉静似藏心学哲思。右下角一册典籍静静铺陈，暗合其宗师身份，旁侧题跋墨迹苍劲，与肖像相映成趣，添历史厚重。整作写实中融写意，既抓形貌之真，更显精神之邃，是明代肖像画里形神兼备的典范。",[80,81,83,134,82,7,649,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c07c364d3de8befe1de949c34b98e12.jpg",[88],"c5a681",{"id":1072,"slug":1073,"title":1074,"dynasty":18,"author":210,"museum":171,"description":1075,"tags":1076,"thumbUrl":1078,"material":177,"size":228,"collection":87,"collections":1079,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":91},287905,"da-ban-nie-pan-jing-juan-yi-ming-287905","大般涅槃經卷","此卷写经笔致清劲秀雅，通篇气脉贯通，结体端稳方正，字字排布齐整匀净，尽显写经的虔敬肃穆法度。起收笔灵动含蓄，笔画粗细匀停，兼具隶书朴拙意趣与楷书端凝之态，是早期佛教写经书法的典范。经卷虽有残损泛黄，却晕染出岁月沉郁的古雅质感，纸墨之间，沉淀着笃诚信仰与书法艺术的融汇之美，静静诉说着千年前的翰墨禅心。",[24,30,25,27,467,7,1077],"经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aeedfb1e8f1997c83bed18df00c660b.jpg",[],10,{"id":1082,"slug":1083,"title":1084,"dynasty":96,"author":1085,"museum":171,"description":1086,"tags":1087,"thumbUrl":1088,"material":28,"size":87,"collection":34,"collections":1089,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":38},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","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[23,25,49,322,225,64,24,30,27,26,188,29,905,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[34],{"id":1091,"slug":1092,"title":1093,"dynasty":96,"author":210,"museum":171,"description":1094,"tags":1095,"thumbUrl":1097,"material":87,"size":87,"collection":34,"collections":1098,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":91},240176,"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[23,48,27,84,1096,29,225,49,25,24,140,7,82,905],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[34],{"id":1100,"slug":1101,"title":1102,"dynasty":43,"author":1103,"museum":171,"description":1104,"tags":1105,"thumbUrl":1106,"material":87,"size":87,"collection":87,"collections":1107,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":91},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,24,30,27,25,119,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":1109,"slug":1110,"title":147,"dynasty":422,"author":1111,"museum":171,"description":1112,"tags":1113,"thumbUrl":1114,"material":177,"size":228,"collection":87,"collections":1115,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":38},224288,"qian-zi-wen-fu-shan-224288","傅山","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。",[23,24,64,27,48,105,29,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":1117,"slug":1118,"title":1119,"dynasty":364,"author":210,"museum":171,"description":1120,"tags":1121,"thumbUrl":1122,"material":177,"size":228,"collection":87,"collections":1123,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":38},290679,"jin-gang-jing-yi-juan-shou-gao-yi-ming-290679","金刚经一卷手稿","此卷写经用笔匀净秀雅，笔画舒展灵动，不失法度又带着抄写时的从容沉静。通篇排布齐整，字距匀称统一，行气贯通悠长，尽显写经体特有的端厚朴拙。墨色浓淡匀停，可见书写时恭谨肃穆的心境，禅意静气藏于笔墨细节间，将宗教文本的神圣感融于笔触之中，是兼备宗教价值与书法审美价值的写经佳构。",[24,30,27,25,119,467,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b23319daeb372045af3a7900d50c46.jpg",[],9,{"id":1126,"slug":1127,"title":1128,"dynasty":364,"author":210,"museum":171,"description":1129,"tags":1130,"thumbUrl":1132,"material":177,"size":228,"collection":87,"collections":1133,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":38},290657,"liang-chao-fu-da-shi-song-jin-gang-jing-xu-shou-gao-yi-ming-290657","梁朝傅大士颂金刚经序手稿","此卷小楷写经笔致清劲秀雅，通篇排布齐整匀净，长卷气脉贯通始终。笔墨带着六朝写经特有的朴拙温润，每字端稳舒展，点画凝练含蓄，尽显抄经时的恭敬静定。将经文禅理融于笔墨章法之中，平淡里见出隽永意韵，朴素间深藏沉静风神。\n\n全篇千字始终不失端严法度，墨色匀净一致，可见抄经之人落笔时的专注澄澈，把对经文的虔诚全然倾注在笔锋起落之间，是写经书法中兼具艺术审美与宗教意趣的佳品，尽显古代写经书法的独特韵味与虔敬心力。",[24,25,27,30,467,1131,421,7],"佛经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c665d4a9caf3f23b324f14fe5f20b8a.jpg",[],{"id":1135,"slug":1136,"title":1137,"dynasty":96,"author":1138,"museum":171,"description":1139,"tags":1140,"thumbUrl":1143,"material":177,"size":228,"collection":87,"collections":1144,"showCount":1124,"zanCount":55,"manualWeight":11,"mainColor":91},283609,"li-dai-jun-jian-wu-shi-juan-zhu-qi-yu-283609","历代君鉴五十卷","朱祁钰","明景帝朱祁钰（1428年9月11日—1457年3月14日），明朝第七位皇帝，1449年九月―1457年正月在位，在位7年，年号景泰（1450年—1457年）。朱祁钰是明宣宗朱瞻基次子、明英宗朱祁镇异母弟，母吴贤妃。\n朱祁钰生于宣德三年（1428年），只比长兄朱祁镇小1岁。明英宗即位后被封为郕王。正统十四年（1449年），发生土木堡之变，明英宗朱祁镇兵败被瓦剌俘虏。为免主少国疑，于谦、王直等大臣奏明皇太后，拥立郕王朱祁钰为帝，尊明英宗为太上皇，次年改元景泰。在位期间，知人善任，励精图治，重用于谦等人，取得北京保卫战的胜利，击退瓦剌的入侵，对政治、经济、军事等方面进行了整顿和改革，推动明朝政治由乱而治，渐开中兴，可谓英明之主。明英宗归国后幽禁于南宫，后又改立自己的儿子朱见济为太子。景泰八年（1457年）正月，夺门之变爆发，明英宗复辟，软禁其于西苑，改元天顺。\n天顺元年（1457年）二月，明英宗废其为郕王，不久朱祁钰离奇去世，享年30岁。明英宗赐谥号曰“戾”，按亲王礼葬在北京西山，即景泰陵。侄子明宪宗即位后，恢复朱祁钰皇帝之位，追谥曰“恭仁康定景皇帝”，史称明景帝、景泰帝。南明时期，弘光帝朱由崧追加谥号为“符天建道恭仁康定隆文布武显德崇孝景皇帝”，上庙号“代宗”，但未被清代官方所承认。\n朱祁钰是明朝迁都北京之后，第一个没有被葬于明十三陵的皇帝。",[7,25,24,29,832,1141,1142],"三皇","伏羲氏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2431bdea708b083131d69c0aef37a2.jpg",[],{"id":1146,"slug":1147,"title":1148,"dynasty":221,"author":388,"museum":171,"description":1149,"tags":1150,"thumbUrl":1151,"material":177,"size":228,"collection":87,"collections":1152,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":91},240933,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-er-zhao-meng-fu-240933","赵孟頖妙法莲花经册卷二","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。",[48,24,30,649,49,119,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438a51782c2e18404b96924a66130662.jpg",[],{"id":1154,"slug":1155,"title":1156,"dynasty":364,"author":1157,"museum":171,"description":1158,"tags":1159,"thumbUrl":1166,"material":177,"size":228,"collection":87,"collections":1167,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":91},232300,"a-er-ma-27-lao-lun-si-a-er-ma-ta-de-ma-232300","阿尔玛27","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[368,84,369,1160,81,262,1161,1162,7,1163,1164,140,1165,378],"古典风格","大理石","卷轴","雕刻","浮雕","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d69d0fe4c253f427ebc397002a8f949.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":235,"author":999,"museum":171,"description":1000,"tags":1172,"thumbUrl":1173,"material":177,"size":228,"collection":87,"collections":1174,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":38},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻",[23,48,27,24,30,49,261,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":1176,"slug":1177,"title":1178,"dynasty":43,"author":210,"museum":171,"description":1179,"tags":1180,"thumbUrl":1181,"material":87,"size":87,"collection":87,"collections":1182,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":38},223599,"jie-shi-diao-you-lan-yi-ming-223599","碣石调•幽兰","这是存世最古的琴曲谱本，以工整秀雅的小楷誊录，通篇排满细密的减字谱。泛黄纸页晕开淡旧墨色，岁月痕迹爬满卷端，却未曾湮没笔底沉静温雅的唐人书法气度。\n\n笔锋凝练端稳，将古曲韵律藏在笔墨方寸间，它既是精妙的书法小品，更是承载千年雅乐的珍贵遗存，让后人得以触摸中古琴音的风雅脉络，墨色虽有晕散斑驳，却依旧清晰留存着千年前的琴音密码，尽显古卷的厚重底蕴。",[23,24,25,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3389e51e1f3889b30701c9ff2a3005fa.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":221,"author":210,"museum":197,"description":1187,"tags":1188,"thumbUrl":1190,"material":107,"size":1191,"collection":88,"collections":1192,"showCount":1124,"zanCount":11,"manualWeight":11,"mainColor":91},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,80,48,101,119,84,82,81,1189,7,135],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 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李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,24,30,25,49,29,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef577175a703850e5461d03d1409a1f.jpg",[],{"id":1384,"slug":1385,"title":1386,"dynasty":96,"author":1197,"museum":595,"description":1198,"tags":1387,"thumbUrl":1388,"material":201,"size":1201,"collection":87,"collections":1389,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":1203},222308,"nan-hua-zhen-jing-61-wang-chong-222308","南华真经61",[356,24,49,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8a04fb640de66b11933898bb802a6.jpg",[],{"id":1391,"slug":1392,"title":1393,"dynasty":43,"author":210,"museum":171,"description":1394,"tags":1395,"thumbUrl":1398,"material":87,"size":87,"collection":87,"collections":1399,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":253},221131,"fa-hua-jing-huang-jin-zhuang-shi-ge-xian-yi-ming-221131","法华经黄金装饰格线","幽蓝绀纸作底，沉穆如古潭秋水。泥金勾绘的格线齐整如阡陌，将卷面裁作匀净方寸，泥金佛偈排布其中，笔意端雅秀润。\n\n金彩虽经年月晕染暗哑，却依旧在幽深色底上泛着柔和光晕，把宗教的虔敬凝入每一处细致填金里。庄严华贵间带着独有的端雅气韵，将信仰与匠心揉合在规整卷面中，尽显工艺的极致考究，是禅意与工巧相融的传世佳品。",[30,24,25,1396,119,7,1397],"界画","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824fee8a13025ad588bbada8b0a22826.jpg",[],{"id":1401,"slug":1402,"title":1403,"dynasty":364,"author":210,"museum":171,"description":1404,"tags":1405,"thumbUrl":1406,"material":177,"size":228,"collection":87,"collections":1407,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":38},287984,"fa-cang-quan-jing-p2252-cha-tu-ban-fu-shuo-fu-ming-jing-juan-di-shi-san-shou-gao-xia-bu-zhi-bei-shou-gao-xia-bu-yi-ming-287984","法藏全景 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上卷","纸色昏黄斑驳，残损的边角晕开时光浸洇的旧痕。行楷笔锋朴拙温润，点画排布匀停妥帖，不见刻意妍美的雕琢，尽是抄经手人伏案濡墨时的平实虔诚。\n\n作为《论语集解》古写本，浓淡错落的墨色留存着千年前的笔底呼吸，字里行间交织着儒家典籍的肃穆厚重与抄录日常的松弛从容。缺损的纸边如同被时光揉碎又展平的信笺，将千年前的诵读与书写，凝作可触摸的文脉余温，旧纸墨香里的孔门意涵，穿过悠悠岁月仍能叩动心弦。",[27,24,25,7,26,1254,28,30,1415],"儒家经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182fab8496396bfb3de4b3b9ae2491c7.jpg",[],{"id":1419,"slug":1420,"title":1421,"dynasty":364,"author":210,"museum":464,"description":1422,"tags":1423,"thumbUrl":1424,"material":177,"size":228,"collection":87,"collections":1425,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},287619,"miao-fa-lian-hua-jing-juan-di-san-shou-gao-yi-ming-287619","妙法蓮華經卷第三手稿","此卷小楷端凝秀雅，笔锋沉敛匀净，通篇气脉贯通，一丝不苟可见抄经者的恭谨禅心。纸面因岁月经年而泛黄斑驳，晕染出古雅厚重的时光质感，却无损字迹的清劲骨力。\n\n经文排布齐整，字字安稳沉静，既有写经的典型法度，又在规整中隐见灵动笔意。墨色虽淡却依旧沉润，每一笔都饱含着虔诚的信仰温度，静静承载着佛典传承的脉络，将往昔抄经时的肃穆与热忱，凝注在这长长一卷之中，让观者在笔墨间触摸到岁月与信仰交织的厚重底蕴。",[27,24,30,25,467,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847ffa2394198defdd45ff9c2899e214.jpg",[],{"id":1427,"slug":1428,"title":1429,"dynasty":364,"author":210,"museum":171,"description":1430,"tags":1431,"thumbUrl":1432,"material":177,"size":228,"collection":87,"collections":1433,"showCount":1408,"zanCount":55,"manualWeight":11,"mainColor":91},287325,"fu-shuo-fu-mu-en-zhong-jing-shou-gao-yi-ming-287325","佛說父母恩重經手稿","通篇行楷恭谨缮就，笔锋朴拙温润，点画内敛不失法度，无恣意张扬，满是抄经的沉静虔敬。墨色沉凝晕开在泛黄斑驳的古纸之上，残损的边角默默承载着时光流逝的印记。字列排布齐整肃然，一笔一划皆饱含对经文主旨的郑重诠释，将感念亲恩的至诚之心融于笔端，让手写经卷的质朴虔诚，与岁月沉淀的厚重质感交织相融，尽显旧物安然沉静的岁月余韵。",[24,30,25,467,7,214,1077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370de2708ea768ab5a11130b05fbb9e.jpg",[],{"id":1435,"slug":1436,"title":1437,"dynasty":422,"author":210,"museum":171,"description":1438,"tags":1439,"thumbUrl":1441,"material":177,"size":228,"collection":87,"collections":1442,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":38},275852,"bi-yu-qian-long-yu-bi-li-dai-di-wang-si-dian-yu-ce-yi-ming-275852","碧玉乾隆御笔历代帝王祀典谕册","此件以苍润碧玉为底，以描金技法铺陈纹饰。双龙矫健身姿穿云游走，鳞爪分明犀利，须发张扬灵动，二龙遥遥顾盼，在卷云之间尽显神武威严。描金走线细腻流畅，将龙的遒劲气势尽数勾勒，明丽金彩与沉凝玉色相映，华贵庄重尽显皇家规制。礼制器物的肃穆仪范，结合玉雕描金的精湛工艺，尽显匠心造诣，将帝王仪典的恢宏气度凝于方寸玉册之上。",[843,1163,1096,649,1440,7],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02af8c80ffd821944734dce4b497776.jpg",[],{"id":1444,"slug":1445,"title":1446,"dynasty":422,"author":210,"museum":171,"description":1447,"tags":1448,"thumbUrl":1449,"material":177,"size":228,"collection":87,"collections":1450,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":253},275849,"bi-yu-yu-zhi-fang-su-han-chen-gu-fu-xiang-zan-ce-yi-ming-275849","碧玉御制仿苏汉臣古佛象赞册","此作以深沉莹润的碧玉为地，描金纹饰鲜亮华贵。两侧双龙身姿矫健，鳞爪纤毫毕现，伴祥云怒涛翻腾于册面，尽显威严肃穆的皇家气象。题字填金工整流丽，笔意端方厚重，与灵动龙纹刚柔相济。它将玉雕的沉静雅致与髹金工艺的华贵精妙相融，尽显当时顶尖匠造水准，把礼制的庄重与匠心巧思揉为一体，沉静玉色与明耀金彩相映，兼具文房清赏的雅致意蕴与皇家器物的端严气场，是清代工艺审美集大成的精巧之作。",[843,649,1096,25,119,1163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbaac0a0c28be6d6c339b4f31b3a907.jpg",[],{"id":1452,"slug":1453,"title":1454,"dynasty":43,"author":210,"museum":171,"description":1455,"tags":1456,"thumbUrl":1457,"material":87,"size":87,"collection":34,"collections":1458,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},241073,"wu-kuan-xie-ci-shan-xiao-zi-bao-en-cheng-dao-jing-di-yi-juan-yi-ming-241073","无款写慈善孝子报恩成道经第一卷","此作用笔匀净秀润，结体端庄舒展，是唐代写经书法的典型风貌。通篇排布疏密合宜，字间顾盼相生，既有唐楷规整的法度，又暗含行书的灵动意趣，笔锋起落从容沉静，尽显书写者娴熟的控笔功力。墨色沉凝饱满，历久弥新，字里行间浸透着抄经时的虔敬心境，将对经文的信奉融于每一处点画之中。虽出自佚名经生之手，却尽显唐代民间书法的质朴大美，褪去刻意雕琢的匠气，以平实端严的笔墨，静静传递出千年前抄录经文时的专注与信仰的温度。",[24,30,25,119,7,309,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af35cc83925e0bcaa6e80e95e17c592.jpg",[34],{"id":1460,"slug":1461,"title":1462,"dynasty":221,"author":388,"museum":171,"description":1149,"tags":1463,"thumbUrl":1464,"material":177,"size":228,"collection":87,"collections":1465,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},240937,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-san-zhao-meng-fu-240937","赵孟頖妙法莲花经册卷三",[24,30,649,25,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed37198066d887c7d3ed63470b74bea.jpg",[],{"id":1467,"slug":1468,"title":1469,"dynasty":221,"author":1470,"museum":171,"description":1471,"tags":1472,"thumbUrl":1473,"material":177,"size":228,"collection":87,"collections":1474,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":623},240935,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-wu-zhao-you-chen-240935","赵孟頖，妙法莲花经册卷五","赵由宸","赵由宸，字明仲，号云石道人，居歸安縣崇禮鄉建德里。孟頫五兄孟頖之子。",[48,649,119,30,25,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf5c3b122e9d4e026bd58a8c480b162.jpg",[],{"id":1476,"slug":1477,"title":1478,"dynasty":422,"author":1479,"museum":171,"description":1480,"tags":1481,"thumbUrl":1482,"material":177,"size":228,"collection":87,"collections":1483,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},240163,"shu-zha-2-tong-lin-ze-xu-240163","书札2通","林则徐","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[24,49,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8014e8887c2a5f45526126d5802dbfef.jpg",[],{"id":1485,"slug":1486,"title":1487,"dynasty":43,"author":210,"museum":171,"description":1488,"tags":1489,"thumbUrl":1490,"material":87,"size":87,"collection":34,"collections":1491,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},239690,"tang-ren-xie-dou-sha-jing-ce-yi-ming-239690","唐人写兜沙经册","此作小楷温润秀雅，结体匀净端庄，笔间带着灵动舒展的盛唐气韵。墨色沉凝饱满，历经岁月依旧鲜亮澄澈，纸墨相融尽显抄经手扎实功底。\n它将宗教的肃穆虔诚融入笔墨之间，恪守法度却不失柔和隽秀，是信仰与书法艺术的完美合璧。字里行间，静静铺陈开千年之前的信仰传承，让观者于点画起落间，触摸唐人写经的笔墨风华。",[309,24,30,25,29,7,649,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8d13e3d0ef3633770302446152385f.jpg",[34],{"id":1493,"slug":1494,"title":1495,"dynasty":43,"author":210,"museum":171,"description":1496,"tags":1497,"thumbUrl":1499,"material":177,"size":228,"collection":87,"collections":1500,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},227229,"fo-jing-shi-bian-yi-ming-227229","佛经 饰边","日本写经史的最辉煌时期，应是在奈良时代（公元710-794）。此时中国为盛唐时期，日本因积极学习唐文化，从而建立了相对完备的政治集权，经济、文化也盛象空前。\n公元717年，日本留学僧玄昉随第八次遣唐使入唐（吉备真备为此次遣唐使团的正使），734年留学近18载归国。此时的日本王室将佛教视作“镇护国家之要法”，有意大兴佛事；而留学僧玄昉从中国携带大量佛像及五千多卷大藏经回国传播，由此二者为因，促进了日本国内书写大藏经的流行。因此奈良时代到平安中期也被公认为日本重要的写本时代。这期间的写经数量较大、书风高古。",[23,43,119,30,25,24,48,27,7,532,1498,29,84],"饰边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f1a929d64d0da934b0bb3a755c08a6.jpg",[],{"id":1502,"slug":1503,"title":1504,"dynasty":364,"author":210,"museum":171,"description":1505,"tags":1506,"thumbUrl":1507,"material":87,"size":87,"collection":87,"collections":1508,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":38},226650,"bai-shi-wen-ji-gu-chao-can-juan-yi-ming-226650","白氏文集-古抄残卷","《白氏文集》，是唐代诗人元稹为了好友白居易而编辑的作品集，又称《白氏长庆集》。原先共有七十五卷，现存七十一卷，每卷的编排大致上保留了白居易自编的原貌，在唐代文人自编文集中，是保存较完整的一部。",[23,24,25,7,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb513521513d4b431b17a77d5923dfa79.jpg",[],{"id":1510,"slug":1511,"title":1512,"dynasty":235,"author":999,"museum":171,"description":1000,"tags":1513,"thumbUrl":1514,"material":177,"size":228,"collection":87,"collections":1515,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":38},225291,"jin-gang-bo-re-jing-kai-ti-can-juan-liu-shi-san-xing-hong-fa-da-shi-kong-hai-225291","金刚般若经开题残卷六十三行",[23,24,30,27,119,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cf5595d69e439afd2c4407399c65fd.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":96,"author":1520,"museum":171,"description":1521,"tags":1522,"thumbUrl":1523,"material":28,"size":1524,"collection":87,"collections":1525,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":38},222057,"qian-zi-wen-juan-zhang-rui-tu-222057","千字文卷","张瑞图","在明代书坛，张瑞图是一位很特殊的书法家。他人品颓喪，步入仕途即依附魏忠贤，成为“魏家阁老”成员之一，其行径为士林所不齿，《明史》将他列入“阉党”；然在书法艺术上却颇有建树，为时人所公认，与邢侗、米万钟、董其昌齐名，书史并称曰“邢张米董”。颓丧的人品居然没有淹没他的书法声誉，这在“书以人重”观点已十分流行的明代，是很特殊的例外，有明一代仅张瑞图和王铎两人，如（清）吴德旋在《初月楼论书随笔》中所评：“张果亭（张瑞图）。王觉斯（王铎）人品颓丧，而作字居然有北宋大家之风，岂得以其人而废之。”可见两人书艺必有过人之处。\n其次，张瑞图是与邢侗、米万钟、董其昌并称為“晚明四家”的，然他的书风与崇尚钟王帖学、追求柔媚格调的邢、米、董三家迥然有别，而与黄道周，倪元璐、王鐸、傅山诸人创立的奇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。",[23,704,80,48,27,64,24,29,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0547e44eabdf5188bbea689e294c99af.jpg","27X923",[],{"id":1527,"slug":1528,"title":1529,"dynasty":43,"author":210,"museum":171,"description":1530,"tags":1531,"thumbUrl":1532,"material":87,"size":87,"collection":87,"collections":1533,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":91},221129,"fa-hua-jing-jin-ye-zi-ge-xian-yi-ming-221129","法华经金叶子格线","此作以织锦镶边，装裱古雅沉静。墨书楷体排布严整，结体匀秀端凝，笔力温润内敛，尽显写经之人的恭谨肃穆。纸面金箔残损斑驳，恰似岁月镌刻下的痕迹，为这件写本晕开沧桑质感。规整格线框定经文，笔墨间既有宗教仪轨的庄严，又饱含唐人书法的雍容法度，字里行间藏着虔诚的信仰底色，残损金箔让时光厚重与经文神圣交融，勾勒出古写经独有的沉静美感，将大唐写经的雅致法度与岁月沉淀的古朴意蕴融为一体。",[23,119,30,24,25,1397,84,7,48,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4da6fe4a3e84d9a3a388205ef3b2f2.jpg",[],{"id":1535,"slug":1536,"title":1537,"dynasty":364,"author":210,"museum":171,"description":1538,"tags":1539,"thumbUrl":1541,"material":177,"size":228,"collection":87,"collections":1542,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},290695,"tan-kuang-jin-gang-bo-re-jing-zhi-zan-juan-shang-yi-ming-290695","昙旷 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。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[24,49,27,134,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[34],{"id":1647,"slug":1648,"title":1649,"dynasty":96,"author":1650,"museum":171,"description":1651,"tags":1652,"thumbUrl":1653,"material":87,"size":87,"collection":34,"collections":1654,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":91},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） ，字长卿，号员峤，浙江湖州府乌程县（今浙江省湖州市南浔区）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n温体仁于万历二十六年（1598年）进士，选为庶吉士，万历年间历任翰林院编修、南京国子监司业、左谕德、左庶子、少詹事等职。天启年间升为礼部右侍郎兼翰林院侍读。崇祯初年升南京礼部尚书、礼部尚书，与周延儒联手阻止钱谦益入阁，并以“孤忠”“廉谨”的形象取得了崇祯帝的赏识与信任。崇祯三年（1630年）六月以礼部尚书兼东阁大学士，跻身内阁，成为次辅，两年半后累升至少傅兼太子太傅、吏部尚书、建极殿大学士。在此期间，他与首辅周延儒互相倾轧，并在崇祯六年（1633年）六月扳倒周延儒，自己取而代之，翌年晋升中极殿大学士，加少师。崇祯十年（1637年）六月因欲置钱谦益于死地而被崇祯帝怀疑“有党”，不得不辞职致仕。翌年病死于家中，享年六十六岁（虚岁）。崇祯帝追赠他为太傅，赐谥号“文忠”。\n温体仁为崇祯朝阁臣中居位最久者，辅政期间，明朝内忧外患的局势逐渐恶化。他几乎没有任何重要的建树与对策，而是一味排斥异己、迎合皇帝，尤其受到原东林党人士的憎恨。清修《明史》将他列入“奸臣传”。",[23,48,27,24,49,25,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99c514dd9ba09f3b7efe1dc314d8ff.jpg",[34],{"id":1656,"slug":1657,"title":1658,"dynasty":422,"author":1659,"museum":171,"description":1660,"tags":1661,"thumbUrl":1662,"material":177,"size":228,"collection":87,"collections":1663,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":623},239755,"a-gui-tian-di-zhi-dao-heng-jiu-er-bu-yi-ye-lun-ce-qian-long-239755","阿桂天地之道恒久而不已也论册","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[24,25,649,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ef0c9dc8b5b6329a941cd8c89099c1.jpg",[],{"id":1665,"slug":1666,"title":1667,"dynasty":96,"author":1668,"museum":171,"description":1669,"tags":1670,"thumbUrl":1671,"material":87,"size":87,"collection":87,"collections":1672,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":91},228744,"xiao-jing-song-huang-dao-zhou-228744","孝经颂","黄道周","《孝经集传（经部孝经类）\u002F中外哲学典籍大全》是22年9月1日中国社会科学出版社出版的图书，作者是[明] 黄道周 。\n《孝经集传》是明末大儒黄道周后期的著作。\n该书提炼出《孝经》的“五微义”与“十二著义”，不仅每一章有黄道周自己的诠释，还分别以二戴记、《仪礼》、《孟子》等作为义疏，认为《孝经》是六经之本，体现了黄道周后期思想中回归六经、经世致用的倾向。\n黄道周一生学在《周易》，行在《孝经》，《孝经集传》的学术价值正与其伟大气节相互辉映。\n由于该书成书历时六年，推衍极深，深为后世推许，因而《孝经集传》不仅是黄道周思想研究的必要文本，同时还是中国孝经学研究的重要著作。\n进孝经集传序 孝经集传卷一 开宗明义章第一 天子章第二 诸侯章第三 卿大夫章第四 士章第五 庶人章第六 孝经集传卷二 三才章第七 孝治章第八 圣德章第九 孝经集传卷三 纪孝行章第十 五刑章第十一 广要道章第十二 广至德章第十三 孝经集传卷四 广扬名章第十四 谏静章第十五 感应章第十六 事君章第十七 丧亲章第十八 附一 历代孝经集传序跋 明刻本孝经集传众弟子跋 康熙本孝经集传序一 康熙本孝经集传序二 康熙本孝经集传序三 四库提要 孝经集传钞序 孝经集传序 跋黄忠端楷书孝经墨刻 附二 清代以来对孝经集传的相关评价 附三 黄道周论孝八篇 孝纪序 书古文孝经後 书孝经别本後 书孝经颂後 书圣世颁孝经颂後 孝经颂 圣世颁孝经颂 孝经辨义 主要参考文献",[23,24,25,29,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2f527ade0e12dbadf5a04abb1f726a.jpg",[],{"id":1674,"slug":1675,"title":1676,"dynasty":43,"author":210,"museum":171,"description":1677,"tags":1678,"thumbUrl":1679,"material":87,"size":87,"collection":87,"collections":1680,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},227124,"shi-ji-di-er-shi-jiu-juan-he-qu-shu-di-qi-can-juan-yi-ming-227124","史记第二十九卷河渠书第七残卷","《史记》，二十四史之一，最初称为《太史公书》或《太史公记》、《太史记》，是西汉史学家司马迁撰写的纪传体史书，是中国历史上第一部纪传体通史，记载了上至上古传说中的黄帝时代，下至汉武帝太初四年间共3000多年的历史。太初元年（前104年），司马迁开始了《太史公书》即后来被称为《史记》的史书创作。该著作前后经历了14年，才得以完成。\n《史记》全书包括十二本纪（记历代帝王政绩）、三十世家（记诸侯国和汉代诸侯、勋贵兴亡）、七十列传（记重要人物的言行事迹，主要叙人臣，其中最后一篇为自序）、十表（大事年表）、八书（记各种典章制度记礼、乐、音律、历法、天文、封禅、水利、财用）。《史记》共一百三十篇，五十二万六千五百余字，比《淮南子》多三十九万五千余字，比《吕氏春秋》多二十八万八千余字。《史记》规模巨大，体系完备，而且对此后的纪传体史书影响很深，历朝正史皆采用这种体裁撰写。\n《史记》被列为“二十四史”之首，与《汉书》、《后汉书》、《三国志》合称“前四史” ，对后世史学和文学的发展都产生了深远影响。其首创的纪传体编史方法为后来历代“正史”所传承。《史记》还被认为是一部优秀的文学著作，在中国文学史上有重要地位，被鲁迅誉为“史家之绝唱，无韵之《离骚》”，有很高的文学价值。刘向等人认为此书“善序事理，辩而不华，质而不俚”。",[25,49,24,7,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b213715ab01b245069886378432e5a.jpg",[],{"id":1682,"slug":1683,"title":1684,"dynasty":43,"author":1103,"museum":171,"description":1104,"tags":1685,"thumbUrl":1686,"material":87,"size":87,"collection":87,"collections":1687,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":91},227092,"xiao-zi-fa-hua-jing-juan-xia-bu-li-yuan-hui-227092","小字法华经卷下部",[23,24,30,27,119,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec1a4919be764b8f39da09c9433ad0.jpg",[],{"id":1689,"slug":1690,"title":1691,"dynasty":43,"author":170,"museum":171,"description":172,"tags":1692,"thumbUrl":1693,"material":28,"size":177,"collection":87,"collections":1694,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},223388,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-4-bai-ju-yi-223388","古抄残卷《白氏文集》第三巻第四4",[23,24,7,27,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e96cf41e64430fb90a5034ce3ad7c0.jpg",[],{"id":1696,"slug":1697,"title":1698,"dynasty":43,"author":210,"museum":171,"description":1699,"tags":1700,"thumbUrl":1701,"material":87,"size":87,"collection":87,"collections":1702,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},221124,"miao-fa-lian-hua-jing-guan-shi-yin-pu-sa-pu-men-pin-di-er-shi-wu-juan-yi-ming-221124","妙法莲华经观世音菩萨普门品第二十五卷","此卷以金泥书就于素纸，笔致挺秀温润，结体匀整端雅，是唐代写经的典型佳构。通篇小楷排布齐整，笔笔精到，气息匀净贯通，不见一丝懈怠。书写者以沉静心力付诸笔端，将奉佛的虔敬凝于金墨线条之中，法度谨严却不刻板，带着平和肃穆的气韵。长卷绵延间，尽显盛唐抄经手的精湛功底，千年之后仍能让人触摸到彼时奉佛写经的庄重与沉静，是存世写经中颇具代表性的上品。",[23,30,119,7,27,28,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae2999ae9ed5357bd86a876ceeff28d.jpg",[],{"id":1704,"slug":1705,"title":1706,"dynasty":422,"author":1707,"museum":464,"description":1708,"tags":1709,"thumbUrl":1711,"material":1712,"size":87,"collection":87,"collections":1713,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},214994,"ren-wu-tu-ce-2-gu-jian-long-214994","人物图册-2","顾见龙","画面中两僧相偕，一者跪坐举莲，莲茎轻扬，粉瓣柔点素纸；一者抱卷侧倚，朱页映衬缁衣。线条婉转如流水，勾勒衣袂褶皱，笔墨简淡却藏情态：举莲者仰头凝眸，似醉心莲香禅意；抱卷者笑意微漾，若回味书中真趣。素净底色衬出人物恬淡，动静之间漫着清寂与悠然。无繁复布景，仅以人物互动与细节传递禅林雅趣——笔墨间见匠心，神态里显天真，尽显温婉韵致与禅意哲思，仿佛能触到那抹穿越时光的悠然气息。",[23,80,48,649,84,82,81,1710,7],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b243f0e2376c84a326b04df22ca953.jpg","纸本,设色",[],{"id":1715,"slug":1716,"title":1717,"dynasty":364,"author":210,"museum":171,"description":1718,"tags":1719,"thumbUrl":1720,"material":177,"size":228,"collection":87,"collections":1721,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":91},290675,"wei-mo-ji-jing-juan-zhong-shou-gao-yi-ming-290675","维摩诘经卷中手稿","这卷古纸遍染岁月痕迹，泛黄底色上晕开深浅不一的水渍霉斑，边角残损带着光阴侵蚀的痕迹。几处残存的钞经笺纸，笔致瘦劲内敛，是写经特有的端严小楷，虽仅余断句残言，却能窥见抄经时的沉静虔诚。\n\n大片留白是佚失经文的无声注脚，残存题字依稀勾勒旧籍过往样貌，残片如时光信笺，将千年之前的笔墨温度留存至今，让观者触摸古籍流转间的沧桑静谧，在空白与残字之间，晕开中古写经质朴沉静的厚重力量。",[27,48,24,30,119,214,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda370551bd7d02639667cf47492176fe.jpg",[],{"id":1723,"slug":1724,"title":1725,"dynasty":364,"author":210,"museum":171,"description":1726,"tags":1727,"thumbUrl":1728,"material":177,"size":228,"collection":87,"collections":1729,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":38},290632,"yao-shi-liu-li-guang-jing-yi-juan-yi-ming-290632","药师瑠璃光经一卷","此作为长篇写经小楷，笔墨端整秀雅，点画温润舒展，结体匀净端庄，通篇排布错落有序，气息贯通无滞。书写恭谨细致，虽经文篇幅绵长，却不见懈怠潦草，每字皆恪守晋唐小楷法度，兼具钟繇古雅与初唐写经的秀逸韵致。笔墨间自带清净安然的禅意，将宗教的沉静平和融于笔锋起落之间，既保留写经的庄严感，又不失书法的审美意趣，是一件兼具实用价值与艺术美感的写经佳作。",[24,27,25,30,119,467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06bb3c6a3fd87e458544601d136209b.jpg",[],{"id":1731,"slug":1732,"title":1733,"dynasty":422,"author":210,"museum":171,"description":1734,"tags":1735,"thumbUrl":1739,"material":177,"size":228,"collection":87,"collections":1740,"showCount":397,"zanCount":55,"manualWeight":11,"mainColor":38},290170,"qing-ren-xiao-xiang-tu-ce-juan-ben-19-zhen-yi-ming-290170","清人肖像图册绢本19帧","这幅肖像工致写实，画中官员石青补服之上，禽鸟补纹以盘金绣线晕出翎羽层次，精细华贵。暖米绢底衬出沉稳气度，红顶官帽提亮画面色调，垂襟朝珠颗颗圆润，细节一丝不苟。\n\n画家捕捉其松弛坐姿，面容刻画入微，法令纹与眉眼间尽显宦海历练出的温和持重。旁侧案头码放典籍与签牌，暗合主人雅儒底色，极简室内布景留白得当，烘托出肃穆静雅氛围，将清代武官兼具威仪与文心的形象凝于绢素，形神兼备，尽显清代肖像画的写实功力。",[80,649,82,84,1736,1737,1738,768,7],"人物肖像","官服","朝珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f5494909ff1acf77ce8d6d3e78cdca.jpg",[],{"id":1742,"slug":1743,"title":1744,"dynasty":43,"author":210,"museum":171,"description":1745,"tags":1746,"thumbUrl":1747,"material":177,"size":228,"collection":87,"collections":1748,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":623},288127,"shi-xuan-zang-yi-da-zang-jing-da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-wu-shi-ba-chu-fen-duo-wen-bu-er-pin-di-liu-shi-yi-zhi-ba-yi-ming-288127","釋玄奘譯 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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。",[23,24,49,64,27,134,29,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1ff69ebcbaddc6016658cab5a6faf6.jpg",[34],{"id":2063,"slug":2064,"title":2065,"dynasty":422,"author":2066,"museum":171,"description":2067,"tags":2068,"thumbUrl":2069,"material":177,"size":228,"collection":87,"collections":2070,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":38},239784,"shu-yu-zhi-wu-fu-wu-dai-tang-ji-ce-wang-cheng-pei-239784","书御制五福五代堂记册","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,48,649,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057362b0319305532721a8bf14ef66e3.jpg",[],{"id":2072,"slug":2073,"title":2074,"dynasty":422,"author":1841,"museum":171,"description":1842,"tags":2075,"thumbUrl":2076,"material":177,"size":228,"collection":87,"collections":2077,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":38},239759,"shu-hong-li-wan-shou-shan-wu-bai-luo-han-tang-ji-ce-zhou-huang-239759","书弘历万寿山五百罗汉堂记册",[25,24,649,119,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9da6f689a5b1d2b884e0452728d469.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":364,"author":210,"museum":171,"description":2082,"tags":2083,"thumbUrl":2084,"material":177,"size":228,"collection":87,"collections":2085,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":2086},230790,"fu-ben-hang-ji-jing-juan-di-shi-jiu-ling-zi-xia-bu-yi-ming-230790","佛本行集经卷第十九令字下部","此作为写经小楷，通篇排布匀整肃穆，气息沉和安宁。点画精劲凝练，起收皆循法度，藏锋露棱得宜，字字端稳雅正，间架舒朗停匀，全篇行气贯通，不见潦草懈怠之态。\n笔力始终沉实稳定，将敬谨之心融于每一处笔墨细节，把宗教的清净意涵藏在匀净的字里行间。虽为长篇写卷，却始终保持一致的书写状态，尽显书写者沉潜的虔诚，观之令人心绪随之沉静，尽显写经书法特有的静谧禅意。",[30,25,7,24,119,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e36f127de329e1a434a4e360da6d68.jpg",[],"FF9800",{"id":2088,"slug":2089,"title":2090,"dynasty":43,"author":210,"museum":171,"description":1287,"tags":2091,"thumbUrl":2092,"material":177,"size":228,"collection":87,"collections":2093,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":38},227241,"jin-guang-ming-jing-can-juan-mu-wu-jing-yi-ming-227241","金光明经残卷 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金刚般若波罗蜜经手稿","此卷写经墨色沉朴苍润，纸面晕开岁月泛黄的痕迹，带着旧卷特有的沉静质感。用笔匀净端雅，结体方正秀逸，字字排布齐整却不失灵动意趣，通篇气息平和冲淡，藏着抄录时的恭谨禅心。\n笔墨间无跳脱张扬，只以安稳笔力缓缓铺陈经文，尽显写经书法独有的肃穆雅致。纸页褶皱与细微破损，凝着时光厚重的印记，让这件遗存既是宗教文典，亦是难得的书法珍本，静静诉说着漫长岁月里的传承底蕴。",[27,24,30,25,119,467,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a3b7c57fb7e770c58cfb1d75140a54.jpg",[],{"id":2279,"slug":2280,"title":2281,"dynasty":364,"author":210,"museum":171,"description":2282,"tags":2283,"thumbUrl":2284,"material":177,"size":228,"collection":87,"collections":2285,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},290698,"fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-290698","佛顶尊胜陀罗尼经卷一","这卷经页带着被时光啃噬的痕迹，虫蛀的豁口、晕开的暗黄，皆是岁月凿下的印鉴。雕版字体方朴敦实，笔画凝厚沉稳，墨色沉郁古雅，虽残损多处，仍能窥见当年刷印时的庄重虔诚。栏线虽已漫漶模糊，经文排布仍匀整规矩，字里行间浸透着旧时的信仰温度，每一道残痕都藏着千年来传抄、诵读的过往，是被香火摩挲过的时光切片，带着旧世里沉静的梵唱余韵，将久远的信仰日常封存在这薄纸之上。",[119,467,30,7,24,25,27,1254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5edc2bf81ce6d6fb41c4db7195fe3a1.jpg",[],{"id":2287,"slug":2288,"title":2289,"dynasty":364,"author":210,"museum":171,"description":2290,"tags":2291,"thumbUrl":2292,"material":177,"size":228,"collection":87,"collections":2293,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},290676,"da-fang-guang-fu-hua-yan-jing-juan-di-si-shi-jiu-shou-gao-yi-ming-290676","大方广佛华严经卷第四十九手稿","卷面古旧泛黄，岁月晕染的褐渍斑驳铺陈，边角朱印依稀留存。通篇以工整小楷抄就，排布匀净舒朗，笔锋内敛沉实，起收皆合法度，点画清劲凝练，筋骨内含，虽历经漫长年月，圆融工稳的笔势依旧清晰可辨。\n\n整卷一气呵成，墨色苍润沉静，藏着抄经人书写时的极致恭谨，将禅意澄寂融于毫端，质朴虔诚的气息漫溢纸面，既是极具古韵的书法佳构，亦是饱含宗教温度的传世珍本。",[30,24,25,27,7,467,119,323,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb121d7c8cefbddd945be6e45e4670db5.jpg",[],{"id":2295,"slug":2296,"title":2297,"dynasty":364,"author":210,"museum":171,"description":2298,"tags":2299,"thumbUrl":2300,"material":177,"size":228,"collection":87,"collections":2301,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},290674,"da-fang-guang-fu-hua-yan-jing-juan-di-liu-shi-liu-shou-gao-yi-ming-290674","大方广佛华严经卷第六十六手稿","这卷写经小楷通篇匀整端秀，笔力凝稳沉实，起收皆具法度。点画排布紧凑舒展得宜，字字如列队之士，齐整却不失灵动。古纸泛黄晕开淡墨，衬得笔墨愈发清隽雅致。\n\n整卷一气呵成，数百字排布森然有序，尽显书写者恭谨心境，兼具唐写经的端严工稳与沉静内敛的禅意，将典籍庄严感融于笔墨之间，每一处顿挫转折皆见虔诚与娴熟功底，尽显传统写经书法的肃穆美感与沉静气韵。",[24,30,25,27,119,467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358ff285af0d8270749f5a07c72f4a79.jpg",[],{"id":2303,"slug":2304,"title":2305,"dynasty":364,"author":210,"museum":171,"description":2306,"tags":2307,"thumbUrl":2308,"material":177,"size":228,"collection":87,"collections":2309,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},290664,"miao-fa-lian-hua-jing-di-er-shou-gao-yi-ming-290664","妙法莲华经第二手稿","此卷小楷写经，笔致匀净秀雅，通篇气息平和内敛。墨色莹润乌亮，行气舒展贯通，虽为长篇抄经却字字端稳工谨，法度隐于笔墨之间。点画精到细腻，起收转合皆见用心，在规整肃穆之中暗含灵动意趣，尽显写经人抄录时的恭谨持敬之心。整卷笔墨与经文禅意相融，静静承载着书写者的虔诚，将宗教的沉静内化于笔墨章法之中，是写经书法中颇具韵味的佳构。",[27,24,25,30,467,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7aec475123b17cab27265526beb5a6.jpg",[],{"id":2311,"slug":2312,"title":2313,"dynasty":364,"author":210,"museum":171,"description":2314,"tags":2315,"thumbUrl":2316,"material":177,"size":228,"collection":87,"collections":2317,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},290663,"miao-fa-lian-hua-jing-di-yi-shou-gao-yi-ming-290663","妙法莲华经第一手稿","通篇小楷点画精劲凝练，结体端雅宽和，是典型的写经体风貌。抄经者以恭谨肃穆的笔态书写，行次匀整、气息悠长，既有唐楷的森严法度，又兼具写经特有的朴拙温润。\n\n墨色沉凝苍古，纸面因岁月经年泛黄斑驳，缺损处如时光凿痕，更添古厚意蕴。字里行间浸透着书写者的虔诚心境，将宗教的沉静内敛融于笔墨之中，这份写本既是珍贵的佛教文献，亦是极具审美价值的书法遗存，尽显中古写本的隽永质感，静静诉说着跨越千百年的笔墨与信仰的交融。",[27,24,30,214,467,119,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d5c575509ced83272168336fb99794.jpg",[],{"id":2319,"slug":2320,"title":2321,"dynasty":364,"author":210,"museum":171,"description":2322,"tags":2323,"thumbUrl":2324,"material":177,"size":228,"collection":87,"collections":2325,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},290660,"da-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290660","大般若波罗蜜经手稿","此卷写经以小楷书就，笔墨恭谨端雅，字字排布匀整舒逸。笔画起收利落，筋骨内含，兼具书写法度与静穆禅意，将经文的肃穆融于笔端。\n\n纸面因岁月经年泛黄晕染，却更添沉静古旧质感，边角朱印留存，为素朴墨色晕开一抹亮色。通篇气息浑融统一，书写者以虔诚落墨，每一字都饱含静定气韵，尽显写经书法的庄严端方，带着悠悠古韵，静静诉说着过往的信仰与笔墨修行。",[24,30,119,467,7,25,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e206229fcccfa5e56f51c46f788717e.jpg",[],{"id":2327,"slug":2328,"title":2329,"dynasty":364,"author":210,"museum":171,"description":2330,"tags":2331,"thumbUrl":2332,"material":177,"size":228,"collection":87,"collections":2333,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},290655,"miao-fa-lian-hua-jing-fa-shi-pin-di-shi-shou-gao-yi-ming-290655","妙法莲华经法师品第十手稿","此卷小楷笔致端雅秀润，结体匀整舒展，通篇排布森然有序，尽显写经体的庄重法度。书写者以恭谨之心落墨，点画之间兼具规整性与灵动意趣，既有经生书法的典型风貌，又暗含细腻的笔锋流转，将抄经时的沉敛肃穆融于笔墨之中。\n字里行间浸透着虔诚的信仰气息，清和静谧的韵致扑面而来，让观览者得以窥见书写时的肃穆心境，书法审美价值与宗教文化意蕴相融，是一件沉静雅致的写经遗存。",[48,24,30,25,27,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cecb2dee95954c87864a0cdc62f937.jpg",[],{"id":2335,"slug":2336,"title":2337,"dynasty":364,"author":210,"museum":171,"description":2338,"tags":2339,"thumbUrl":2340,"material":177,"size":228,"collection":87,"collections":2341,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor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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。",[638,27,24,30,25,119,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee06a00c2f1bb095966570801fe4080.jpg",[],{"id":2418,"slug":2419,"title":2420,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":2421,"thumbUrl":2422,"material":177,"size":228,"collection":87,"collections":2423,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},289718,"dun-huang-yi-shu-354-yi-ming-289718","敦煌遗书354",[638,30,24,27,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69619830575b29121e396b61073b3ffb.jpg",[],{"id":2425,"slug":2426,"title":2427,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":2428,"thumbUrl":2429,"material":177,"size":228,"collection":87,"collections":2430,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},289687,"dun-huang-yi-shu-323-yi-ming-289687","敦煌遗书323",[638,27,24,30,25,467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64176a15d83df953e270482dd2c9336e.jpg",[],{"id":2432,"slug":2433,"title":2434,"dynasty":364,"author":210,"museum":171,"description":2435,"tags":2436,"thumbUrl":2437,"material":177,"size":228,"collection":87,"collections":2438,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},288543,"da-bei-xin-jie-hu-shen-yin-zhou-ce-shou-gao-yi-ming-288543","大悲心結護身印呪冊手稿","纸色昏黄晕染岁月旧痕，通篇小楷取法唐人写经意趣，结体端秀匀停，笔致温润舒展，无剑拔弩张的锋芒，尽是平和冲淡的禅意。字间排布齐整，行气贯通如一，笔墨朴拙自然，带着抄录经文时的专注沉静。落笔皆是虔敬之心，将经文的肃穆融于笔锋起落，尽显传统写经书法的内敛雅致，悠悠古韵漫溢纸面，静静传递出抄录时的清宁心境。",[24,25,30,649,119,467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fd0f37f3c1746334693c09d4d6751f.jpg",[],{"id":2440,"slug":2441,"title":2442,"dynasty":43,"author":210,"museum":171,"description":2443,"tags":2444,"thumbUrl":2445,"material":177,"size":228,"collection":87,"collections":2446,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},288132,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-er-shi-er-yi-ming-288132","大般若波罗蜜多经卷第五百二十二","此卷写经纸色泛黄古旧，墨色凝练匀净，尽显唐人写经的虔谨风貌。小楷笔法端秀恭谨，结体平正舒展，字字排布齐整却不失灵动，通篇行气舒缓流畅。笔下带着抄写者的敬佛之心，法度谨严又蕴藏温润静雅的气韵，是唐代写经书法的典型范本。它既是佛教典籍的载体，更是盛唐书法艺术的珍贵遗存，静静承载着千年前的笔墨匠心与信仰温度。",[27,24,30,25,119,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1135653f3f306e034eeb5fe290d4ab.jpg",[],{"id":2448,"slug":2449,"title":2450,"dynasty":43,"author":210,"museum":171,"description":2451,"tags":2452,"thumbUrl":2453,"material":177,"size":228,"collection":87,"collections":2454,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},288130,"da-bo-re-bo-luo-mi-duo-jing-juan-di-er-bai-wu-shi-yi-ming-288130","大般若波罗蜜多经卷第二百五十","此卷小楷点画清劲舒展，结体端稳匀净，通篇气息安和沉静，尽显写经时的恭谨心力。墨色沉润，与泛黄藏经纸相映，虽经岁月摩挲有褶皱破损，却晕开旧时光的温厚质感。笔锋起落皆合唐楷法度，既带着庙堂楷书的整饬，又因抄经的静定生出清和禅意。笔墨之间藏着书写者的虔诚，将般若经义融于一笔一划，朴素无华却见匠心，平淡之中自有静定风骨。",[25,24,30,119,27,7,467,1077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ae2750455f003d32cb8ab900f508e.jpg",[],{"id":2456,"slug":2457,"title":2458,"dynasty":43,"author":210,"museum":171,"description":2459,"tags":2460,"thumbUrl":2462,"material":177,"size":228,"collection":87,"collections":2463,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},288128,"shi-xuan-zang-yi-da-zang-jing-a-pi-da-mo-ju-she-lun-fen-bie-sui-min-pin-di-wu-zhi-er-yi-ming-288128","釋玄奘譯 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妙法莲华经卷第六","此卷小楷笔致精匀端秀，墨色沉静古雅，通篇排布严整茂密，尽显写经书法的肃穆法度。字字清隽朴拙，笔意温润绵长，既恪守写经的规整范式，又带着内敛的笔墨意趣。将经文的慈悲奥义融于毫端，行笔间带着虔诚的禅心，通篇气息浑融统一，带着中古写本特有的厚重质感，静静铺展着跨越岁月的沉静禅意，尽显盛世写经的典型风貌。",[24,30,25,27,119,467,1131,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f27e56443abfed56f5dd530321b580.jpg",[],{"id":2602,"slug":2603,"title":2604,"dynasty":364,"author":210,"museum":171,"description":2605,"tags":2606,"thumbUrl":2608,"material":177,"size":228,"collection":87,"collections":2609,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},287825,"dong-dou-fa-yuan-juan-yi-ming-287825","東都發願卷","此卷书法尽显唐人写经朴雅本貌，用笔简劲凝练，点画厚重平实，起收之间从容自然，牵丝映带暗含章法意趣。通篇布局匀整和谐，字距行距错落有度，虽为抄经之作，却将书写时的虔诚心境融于笔墨细节，不见刻意雕琢，尽是日常书写的松弛意态。\n\n岁月晕染让纸面带着斑驳痕迹，反而更添古拙意蕴。书写者娴熟的运笔功力藏在每一处提按转折里，以平实笔墨承载笃信之心，是民间写经书法中兼具文献价值与审美意趣的佳品，尽显中古写本的朴素之美。",[27,24,30,467,25,2607,7],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed4766da81fe616deaa4b858b134dfa.jpg",[],{"id":2611,"slug":2612,"title":2613,"dynasty":364,"author":210,"museum":171,"description":2614,"tags":2615,"thumbUrl":2616,"material":177,"size":228,"collection":87,"collections":2617,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},287823,"da-cheng-bai-fa-ming-men-lun-kai-zong-yi-ji-yi-ming-287823","大乘百法明門論開宗義記","这卷写经以精工小楷书就，笔致匀稳端秀，结体方正疏朗，是唐人写经的典型风貌。墨色历久依旧沉凝鲜亮，卷面泛黄斑驳，朱印点缀其间晕开岁月厚重质感。整卷洋洋洒洒，字行排布齐整如一，法度谨严，尽显抄经人恭谨的写经态度。它既是承载佛教义理的珍贵载体，又尽显唐代民间写经书法的清雅朴拙之美，将宗教的庄敬气韵与书法的隽雅意趣融为一体，兼具极高的文献价值与艺术审美价值。",[24,30,25,119,467,7,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54771db68412067a685a86c63f5bdd72.jpg",[],{"id":2619,"slug":2620,"title":2621,"dynasty":364,"author":210,"museum":171,"description":2622,"tags":2623,"thumbUrl":2624,"material":177,"size":228,"collection":87,"collections":2625,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},287725,"si-fen-ni-jie-ben-bing-xu-xi-tai-yuan-si-sha-men-huai-su-ji-juan-yi-ming-287725","四分尼戒本並序西太原寺沙門懷素集卷","此卷小楷写经笔致匀净秀雅，起收含蓄温润，结体端稳平齐，尽显写经书法的典型风貌。书写一丝不苟，千字排布齐整却不失灵动意趣，墨色沉静古雅，历经岁月晕染自然。\n\n作为戒律经文抄本，法度谨严的书风与戒经庄正的内涵相得益彰，字里行间浸着肃穆虔诚的气息，既承载着宗教文献的厚重价值，亦是书法艺术的传世范本，尽显抄经人恭谨之心与精湛笔墨功底。",[25,30,24,27,119,467,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eeade6dc49bf837b2521e9e2f7c542c.jpg",[],{"id":2627,"slug":2628,"title":2629,"dynasty":364,"author":210,"museum":171,"description":2630,"tags":2631,"thumbUrl":2632,"material":177,"size":228,"collection":87,"collections":2633,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},287688,"fa-cang-quan-jing-p3305-wei-he-yan-lun-yu-ji-jie-shou-gao-xia-juan-yi-ming-287688","法藏全景 P3305魏 何晏 論語集解手稿下卷","这卷残本写迹纸色斑驳残破，带着时光浸蚀的苍旧质感，行书笔意率朴自然，无刻意雕琢的匠气，带着魏晋士人抄录经典时的随性笔致。\n\n墨迹晕染在残损麻纸之上，虽多处缺佚，却仍可窥见当年传抄经典的治学氛围。朴拙的线条藏着士林注经的风雅余韵，每一处笔锋转折，都留存千年前的书写温度，带着沙海尘封的厚重质感，是文献价值与书法意趣兼具的珍贵遗存，静静诉说着旧时文人沉心经典的沉静心境。",[27,24,7,214,1834,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8dcda768027b1c261cb8b1baebaf0.jpg",[],{"id":2635,"slug":2636,"title":2637,"dynasty":364,"author":210,"museum":171,"description":2638,"tags":2639,"thumbUrl":2640,"material":177,"size":228,"collection":87,"collections":2641,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},287670,"fa-cang-quan-jing-p2252-cha-tu-ban-fu-shuo-fu-ming-jing-juan-di-shi-san-shou-gao-xia-bu-yi-ming-287670","法藏全景 P2252插圖版 佛說佛名經卷第十三 手稿 下部","用笔敦实凝练，结体端稳又暗含灵动意趣，通篇字距排布匀净齐整，苍润厚重的墨色晕染在泛黄古纸之上，自带沉静肃穆的禅意。书写者以虔诚心境落墨，字字饱含恭敬，带着写经特有的规整法度，却又不失手写的温度。边角晕开的岁月旧痕与朱印相映，晕开时光沉淀的古雅意蕴，将宗教仪轨的庄严与书写的质朴温情相融，尽显这份古旧写本的沉静质感与虔诚底色。",[638,24,30,25,119,467,7,29,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05a6be8b4e52381a24a474e2ab72da4.jpg",[],{"id":2643,"slug":2644,"title":2645,"dynasty":364,"author":210,"museum":464,"description":2646,"tags":2647,"thumbUrl":2648,"material":177,"size":228,"collection":87,"collections":2649,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},287630,"da-ban-nie-pan-jing-juan-shi-liu-shou-gao-yi-ming-287630","大般涅槃經卷十六手稿","这卷写本以泛黄古纸为底，小楷密密排布，铺满整幅长卷。墨色沉郁朴拙，虽历经岁月有着虫蛀墨损，却更添沧桑古意。笔锋秀劲内敛，字字端稳清隽，排布紧凑却无壅塞之感，尽显写经书法的沉静肃穆之美。\n写经人以虔诚贯注笔端，笔画匀净凝练，带着写经书法的典型风貌，将宗教的庄严感融入笔墨筋骨之中，质朴无华却动人心神。它是信仰与书法艺术的融合遗存，每一处墨迹都留存着千年前的虔敬气息，静穆之中藏着沉静的力量，尽显古写本的质朴美学意蕴。",[27,24,30,467,25,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cb49db18a9b0a48d9b91fde333bcf7.jpg",[],{"id":2651,"slug":2652,"title":2653,"dynasty":364,"author":210,"museum":171,"description":2654,"tags":2655,"thumbUrl":2656,"material":177,"size":228,"collection":87,"collections":2657,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},287322,"da-fang-deng-da-ji-jing-da-ji-jing-juan-ti-nian-si-shou-gao-yi-ming-287322","大方等大集經 大集經卷苐廿四手稿","此卷书法为典型写经楷书，墨色匀净沉和，笔致恭谨端严。点画精劲凝练，起收有度，结体方正匀整，字字排布齐整肃穆，通篇气息沉静安和。行款排布匀停，虽字字恪守法度，却无刻板滞涩之感，灵动笔意隐于规整之中，可见抄经者不俗的书法功底。笔墨之间，饱含抄写时的敬奉之心，在平铺直叙的抄录里，尽显早期写经书法的典型风貌，虔诚的气韵浸透在每一处笔锋起落之中，是佛教写本书法里平实却精湛的佳作。",[27,24,25,30,119,7,467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa531fc76363217f2dd24290e8c259.jpg",[],{"id":2659,"slug":2660,"title":2661,"dynasty":96,"author":453,"museum":171,"description":1026,"tags":2662,"thumbUrl":2663,"material":177,"size":228,"collection":87,"collections":2664,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},283767,"si-yin-tang-shi-gao-ce-san-shi-er-kai-dong-qi-chang-283767","四印堂诗稿册（三十二开）",[649,24,49,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae610695bea9ec9135ddabe7153e468.jpg",[],{"id":2666,"slug":2667,"title":2668,"dynasty":96,"author":453,"museum":171,"description":1026,"tags":2669,"thumbUrl":2670,"material":177,"size":228,"collection":87,"collections":2671,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},283761,"huang-ting-nei-jing-jing-juan-dong-qi-chang-283761","黄庭内景经卷",[23,27,24,64,30,226,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9255793c87e2a497c156b9698b2bdf.jpg",[],{"id":2673,"slug":2674,"title":2675,"dynasty":221,"author":2676,"museum":171,"description":2677,"tags":2678,"thumbUrl":2681,"material":177,"size":228,"collection":87,"collections":2682,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},283614,"shuo-fu-yi-bai-er-shi-juan-tao-zong-yi-283614","说郛一百二十卷","陶宗仪","陶宗仪（1329年～约1412年），字九成，号南村，台州黄岩人。 [1] 元末明初文学家、史学家。自幼刻苦攻读，广览群书，学识渊博，工诗文，善书画。\n成语“积叶成书”讲述陶宗仪的故事。\n元末兵起，陶宗仪避乱松江华亭，耕作之余，随手札记。元至正末，由其门生整理，得精萃五百八十余条，汇编成《辍耕录》，或称《南村辍耕录》30卷，其中记述了元代掌故、典章制度，东南地区农民起义状况。作品还有《南村诗集》（4卷）《国风尊经》（1卷）《沧浪棹歌》（1卷）《书史会要》（9卷）《四书备遗》（2卷）《印章考》（1卷）《淳化帖考》（1卷）《兰亭帖目》（1卷）《说郛》（100卷）。",[7,25,24,832,1254,2679,2680],"石经","大学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73b17f4786dd29b0985c357c34e6b13.jpg",[],{"id":2684,"slug":2685,"title":2686,"dynasty":96,"author":2687,"museum":171,"description":2688,"tags":2689,"thumbUrl":2690,"material":177,"size":228,"collection":87,"collections":2691,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},283601,"li-dai-ming-chen-zou-yi-san-bai-wu-shi-juan-zhang-pu-283601","历代名臣奏议三百五十卷","张溥","字乾度，一字天如，号西铭，南直隶苏州府太仓州（今属江苏太仓）人，是明朝晚期文学家。\n崇祯四年进士，选庶吉士，自幼发奋读书，明史上记有他“七录七焚”的佳话，与同乡张采齐名，合称“娄东二张”。张溥曾与郡中名士结为复社，评议时政，是东林党与阉党斗争的继续。\n文学方面，推崇前后七子的理论，主张复古，又以“务为有用”相号召。一生著作宏丰，编述三千余卷，涉及文、史、经学各个学科，精通诗词，尤擅散文、时论。代表作有《七录斋集》《五人墓碑记》等。",[7,25,24,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f9ee2bba74527c78c701665992776f4.jpg",[],{"id":2693,"slug":2694,"title":2695,"dynasty":422,"author":210,"museum":171,"description":2696,"tags":2697,"thumbUrl":2698,"material":177,"size":228,"collection":87,"collections":2699,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":253},275916,"bi-yu-dong-gao-shu-yu-zhi-shu-han-chang-li-da-li-yi-shu-hou-ce-yi-ming-275916","碧玉董诰书御制书韩昌黎答李翊书后册","此作以凝润碧玉为材，色如深潭幽绿，自带沉静古雅之质。册面以金彩精饰双龙，龙身矫捷盘绕，鳞爪张弛有力，伴祥云辗转腾挪，将皇家威仪尽显无余。錾刻填金的题字端雅规整，与灵动龙纹相映成趣，金辉碧色交融之下，华贵而不失清雅。\n\n整器将玉雕之工、髹金之巧与文心雅意相融，层层叠放间金棱点缀，更添精致，尽显宫廷审美意趣，藏着盛世匠人的极致用心。",[843,649,1096,24,25,1163,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5750089bf6e4556c65e4b1e8cdaf7917.jpg",[],{"id":2701,"slug":2702,"title":2703,"dynasty":422,"author":210,"museum":171,"description":2704,"tags":2705,"thumbUrl":2706,"material":177,"size":228,"collection":87,"collections":2707,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},275914,"bi-yu-heng-ling-shu-yu-zhi-qing-liang-shan-ji-ce-yi-ming-275914","碧玉衡龄书御制清凉山记册","此匣整料精雕而成，通身高浮雕苍龙腾跃于云水之间，龙爪雄劲凌厉，鳞片刻画分毫毕现，云浪翻卷层叠，灵动又不失厚重。器身边角以回纹勾边，规整雅致，盒面留嵌金题位，古雅华贵，与浮雕纹饰相得益彰。底座环雕莲瓣纹，为器物添就沉静庄严的气韵。整体构图饱满却无繁冗之感，雕工浑厚圆润，将神龙的威仪与云水的柔婉相融，尽显匠人超凡功力，把礼制尊崇与工艺美学精妙结合，是一件气度不凡的上乘之作。",[843,1163,1096,103,649,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45eb542f681fdacd155df02671085a73.jpg",[],{"id":2709,"slug":2710,"title":2711,"dynasty":422,"author":210,"museum":171,"description":2712,"tags":2713,"thumbUrl":2714,"material":177,"size":228,"collection":87,"collections":2715,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},275906,"qing-yu-dong-gao-shu-yu-zhi-yan-pu-xu-ce-yi-ming-275906","青玉董诰书御制砚谱序册","此函盒以织锦装裹，黄地萦回蓝绿宝相花团纹，古雅沉静，素签题字墨色凝练，虽经岁月摩挲，古意未减。\n\n内中玉册取温润青玉为材，以刀代笔，将砚谱序文悉心摹刻。字口挺括清晰，章法疏朗端严，把御制文辞与精妙治玉工艺相融，既是文房清赏的上乘佳制，亦是宫廷雅趣与匠心工艺合璧的典范，静静诉说着旧时宫廷的审美意趣与顶尖工艺造诣，尽显清隽雅致的旧日风华。",[649,843,24,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50672f577661004a2bca220ccb658c97.jpg",[],{"id":2717,"slug":2718,"title":2719,"dynasty":422,"author":210,"museum":171,"description":2720,"tags":2721,"thumbUrl":2722,"material":177,"size":228,"collection":87,"collections":2723,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},275903,"qing-yu-ming-guan-chen-lu-cun-yang-wei-zhen-zheng-tong-bian-yu-ce-yi-ming-275903","青玉命馆臣录存杨维桢正统辨谕册","此匣以硬木为胎，错金为饰，工艺极尽考究。匣身云海间腾龙矫健，鳞爪张弛有力，云纹层叠翻涌，将瑞兽威仪烘托得淋漓尽致，下缘回纹圈边，规整肃穆。盖面满錾铭文，排布齐整，笔力沉稳端方。\n\n金纹在深褐木色衬映下熠熠生辉，细木工艺与错金技法相融，既有文房重器的端庄质感，又尽显华贵工巧。整器制式规整，暗合所藏之物的厚重价值，器物与藏品相得益彰，尽显清代匠作的绝佳匠心与宫廷造物的考究气度。",[139,1163,1440,1096,649,7,103,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89ed9837f7289e1122e4ca39919ac56.jpg",[],{"id":2725,"slug":2726,"title":2727,"dynasty":422,"author":210,"museum":171,"description":2728,"tags":2729,"thumbUrl":2730,"material":177,"size":228,"collection":87,"collections":2731,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":38},275902,"qing-yu-cao-wen-zhi-shu-yu-zhi-guang-ling-tao-jiang-yu-bian-ce-yi-ming-275902","青玉曹文埴书御制广陵涛疆域辨册","温润青玉为页，将御制文论以隽秀笔墨镌于其上。玉色莹洁沉静，衬出书法端稳舒展，既有馆阁体的规整肃穆，亦带着文人笔墨的清雅意趣，把文思风骨凝在凝润玉质中。配套锦盒纹样古雅，静静裹藏这份文心雅韵，让宏论、书法与良玉相融，是玉作与书法合璧的清贵珍玩，将旧时文风雅韵定格在莹润玉石之上，藏着内敛沉静的雅致格调。",[843,649,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f7ddfa4f887454033a86c50c31e322.jpg",[],{"id":2733,"slug":2734,"title":2735,"dynasty":422,"author":210,"museum":171,"description":2736,"tags":2737,"thumbUrl":2738,"material":177,"size":228,"collection":87,"collections":2739,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":91},275807,"qing-yu-yu-bi-yong-bai-ju-yi-xin-le-fu-cheng-wu-shi-zhang-bing-xiao-qi-ti-ce-yi-ming-275807","青玉御笔用白居易新乐府成五十章并效其体册","此匣以硬木为胎，通身戗金描漆，游龙穿云戏珠，海波迤逦托底，龙躯盘转矫健灵动，金漆凝光尽显皇家华贵威严。匣盖朱地题字规整端方，点明器物分量。内置玉册莹润清透，御笔劲秀雅致，制匣工艺的精工华丽，与玉册诗文的文雅意趣相融相合，将清代宫廷造物的极致考究与皇家审美意韵，尽数藏纳于这一方匣室之中。",[1607,843,1096,649,1163,1440,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d64b17383ad37b63eebe285696460f.jpg",[],{"id":2741,"slug":2742,"title":2743,"dynasty":422,"author":210,"museum":171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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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晚清官员、文史学家。\n光绪六年进士，官至山西道监察御史。数上封事，不避权要。日记三十余年不断，读书心得无不收录。学识渊博，承乾嘉汉学之余绪，治经学、史学，蔚然可观。长于骈文，被称为“旧文学的殿军”。\n所著《越缦堂日记》，内容涉及经史、纪事、读书记、诗文等，字数多达数百万字，是一部文史、学术宝库，人评为“可继亭林《日知录》之博，”又谓“生不愿作执金吾，惟愿尽读李公书。”为“晚清四大日记之冠”（另三部为《缘督庐日记》《翁同龢日记》和《湘绮楼日记》）。",[23,24,27,49,25,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fd5963f627123d893c453c7501b11b.jpg",[],{"id":3717,"slug":3718,"title":3719,"dynasty":422,"author":3720,"museum":171,"description":3721,"tags":3722,"thumbUrl":3723,"material":177,"size":228,"collection":87,"collections":3724,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},241284,"qi-gu-li-wan-yuan-241284","七古","李万元","封面以织锦装裱，格纹错落间点缀缠枝花卉与吉祥暗纹，靛蓝与米褐交织晕开时光晕染的色泽，素签题字古拙端雅。\n\n纸页被年月晕染出浅褐包浆，边角微有卷损，却将旧纸书香的温柔厚重悉数藏纳。卷中诗文率性抒怀，笔墨带着沉厚朴拙的文人意趣，将旧时心绪凝于字里行间。\n\n这一方古卷被时光妥帖珍藏，触手间便撞入往昔的风雅余韵，静静诉说着旧时光里的文人情思。",[7,24,225,84,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6307d635226a15a2800ce63da466a1b.jpg",[],{"id":3726,"slug":3727,"title":3728,"dynasty":422,"author":3729,"museum":171,"description":3730,"tags":3731,"thumbUrl":3732,"material":177,"size":228,"collection":87,"collections":3733,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},240808,"liu-yun-hao-xun-jie-ti-ci-ye-zhou-shi-wen-240808","刘允浩殉节题词页","周师文","反清义士。以制义名家，兼工诗，豪放不屑羁绁。武昌失陷，匿藏兴国山中，潜招义旅。",[24,49,29,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179f2f60b462130d420bc28e1e93f927.jpg",[],{"id":3735,"slug":3736,"title":3737,"dynasty":96,"author":3738,"museum":171,"description":3739,"tags":3740,"thumbUrl":3741,"material":177,"size":228,"collection":87,"collections":3742,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},240473,"xu-shi-xu-juan-shen-en-240473","叙诗序卷","沈恩","沈恩（1472年－1533年），字仁甫，号西津。直隶松江府上海县人。明朝政治人物。",[23,48,24,27,25,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4c43889a251c5a616da085a9f22788.jpg",[],{"id":3744,"slug":3745,"title":3746,"dynasty":96,"author":3747,"museum":171,"description":3748,"tags":3749,"thumbUrl":3750,"material":177,"size":228,"collection":87,"collections":3751,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},240369,"shi-ye-ke-wei-qi-240369","诗页","柯维骐","柯维骐。生于明孝宗弘治十年，卒于神宗万历二年，年七十八岁。嘉靖二年（公元一五二三年），登进士第，授南京户部主事。未赴，即引疾归。张孚敬用事，创新制，维骐以病满三年罢免。自是谢宾客，专心读书，门人四百余。维骐登第五十年，未尝一日为官，中经倭乱，故庐焚毁，家困甚，终不妄取。抚按监司时有论荐，不复起。隆庆初，廷臣复荐，以年高但授承德郎。致仕，卒。维骐尝作左右二铭、讲义二卷，合宋、辽、金三史为宋史新编，又著史记考要、莆阳文献志及所作诗文集，《明史本传》并传于世。",[48,24,49,29,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9963e5147e6babfc19d4e95d26e81f.jpg",[],{"id":3753,"slug":3754,"title":3755,"dynasty":96,"author":3756,"museum":171,"description":3757,"tags":3758,"thumbUrl":3759,"material":177,"size":228,"collection":87,"collections":3760,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},240354,"lu-wen-ce-zheng-yao-240354","录文册","郑钥","这件小楷册页结体端雅秀润，点画排布匀停舒朗，笔势清劲内敛。起收笔筋骨隐现，转折圆融又不失爽利，通篇气息匀净平和，尽显明人小楷尚雅尚正的意趣。字间排布齐整却无板滞之感，墨色匀净沉实，足见书写时心境澄澈，功性俱佳。纸面晕染开的岁月旧痕，更添古雅沉静的书卷意蕴，将文人静穆治学的气度融于笔墨方寸之间，是一件兼具书写实用价值与审美意趣的书法佳构。",[48,649,29,25,24,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a0091e0c4d647ff5a294dab7dc5184.jpg",[],{"id":3762,"slug":3763,"title":3764,"dynasty":422,"author":3765,"museum":171,"description":3766,"tags":3767,"thumbUrl":3768,"material":177,"size":228,"collection":87,"collections":3769,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":38},240049,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240049","国朝名人手简册-等17人手札","黄宗羲顾炎武","黄宗羲（1610年9月24日－1695年8月12日），浙江余姚人，字太冲，一字德冰，号南雷，别号梨洲老人、梨洲山人、蓝水渔人、鱼澄洞主、双瀑院长、古藏室史臣等，学者称“梨洲先生”。明遗民。明末清初经学家、史学家、思想家、地理学家、天文历算学家、教育家。“东林七君子”之一黄尊素长子。\n黄宗羲提出“天下为主，君为客”的民主思想。他说“天下之治乱，不在一姓之兴亡，而在万民之忧乐”，主张以“天下之法”取代皇帝的“一家之法”，从而限制君权，保证人民的基本权利。黄宗羲的政治主张抨击了封建君主专制制度，有极其重要的意义，对其后反专制斗争起了积极的推动作用。\n黄宗羲与顾炎武、王夫之、唐甄并称“明末清初四大启蒙思想家”，与顾炎武、方以智、王夫之、朱舜水并称为“明末清初五大家”，与陕西李颙、直隶容城孙奇逢并称“海内三大鸿儒”，亦有“中国思想启蒙之父”之誉。",[649,49,24,48,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b6bcb38a60c426a0a20722ffb64685.jpg",[],{"id":3771,"slug":3772,"title":3773,"dynasty":96,"author":210,"museum":171,"description":3774,"tags":3775,"thumbUrl":3776,"material":177,"size":228,"collection":87,"collections":3777,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":91},240018,"ming-ren-bing-bu-zhi-fang-si-zha-fu-gao-juan-yi-ming-240018","明人兵部职方司劄付稿卷","这卷手稿笔墨是典型明代馆阁正楷，端雅方正，笔力匀整沉实，带着庙堂公文的规整肃穆。泛黄的古纸肌理粗糙斑驳，朱印残损晕染，边角的缺损藏着数百年辗转的风尘。\n\n它并非抒情遣兴的书画，而是带着兵戈气的军政文书，字里行间藏着晚明守土戍边的沉重心绪。从拔擢将才到筹算粮秣，从叙录军功到论功行赏，每一行笔墨都牵系着边关安危，是晚明军政时局的鲜活切片，静默诉说着远去的庙堂筹策与塞上烽烟。",[356,24,49,29,7,27,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed343f4f69c9686fb53b4762f572be4.jpg",[],{"id":3779,"slug":3780,"title":3781,"dynasty":422,"author":1841,"museum":171,"description":1842,"tags":3782,"thumbUrl":3783,"material":177,"size":228,"collection":87,"collections":3784,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":623},239761,"shu-hong-li-geng-zhi-shi-ce-zhou-huang-239761","书弘历耕织诗册",[24,25,649,29,134,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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"slug":6510,"title":6511,"dynasty":422,"author":210,"museum":171,"description":6512,"tags":6513,"thumbUrl":6514,"material":177,"size":228,"collection":87,"collections":6515,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275815,"qing-yu-cao-zhen-yong-shu-yu-zhi-yang-xin-dian-ji-ce-yi-ming-275815","青玉曹振镛书御制养心殿记册","此作以青玉裁为书页，以泥金题字，莹润青玉与灿然金彩相映，清贵雅致。函套织锦纹样繁丽规整，尽显装裱工艺的考究用心。书法取馆阁体风貌，笔力稳健端方，排布齐整庄重，将御制文辞的肃穆意蕴尽显无遗。它将玉石的温润质感、书法的笔墨意趣与装帧工艺相融，是宫廷匠心的凝练之作，尽显皇家器物的端庄大气，藏着清代宫廷美学的雅致风骨。",[843,649,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d022b25116a19e01f6cecaab123a105.jpg",[],{"id":6517,"slug":6518,"title":6519,"dynasty":422,"author":210,"museum":171,"description":6520,"tags":6521,"thumbUrl":6522,"material":177,"size":228,"collection":87,"collections":6523,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},275814,"qing-yu-yu-zhi-xiao-chun-shuo-ce-yi-ming-275814","青玉御制小春说册","以温润青玉为纸，以刀代笔，将文辞凝于莹泽玉面。刀工匀净细腻，复刻笔墨端凝风骨，把小春岁时的清雅致怀藏于方寸册页之间。\n\n配套红木盛箱铜饰雅致，榫合严密，暗合着对这套雅玩的珍视。整体将玉之温润、文之隽秀、木之沉敛相融，尽显华贵精巧，静静诉说着岁序里的悠然意韵。",[843,649,7,139,1163,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c910b1aadc3164044c82764d06eba6b.jpg",[],{"id":6525,"slug":6526,"title":6527,"dynasty":422,"author":210,"museum":171,"description":6528,"tags":6529,"thumbUrl":6530,"material":177,"size":228,"collection":87,"collections":6531,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275813,"qing-yu-yu-zhi-wu-liu-tian-di-zhi-zhong-he-fu-ce-yi-ming-275813","青玉御制五六天地之中合赋册","以青玉裁册，岁月晕出温润包浆，墨玉册盖精雕云纹辗转环绕，衬得中部题额愈发庄重沉静。册身平整厚重，每片玉页皆经精心砣刻，辞隽语秀镌于玉面，笔画端凝方正，与玉质清润相融，尽显宫廷制器的庄重典雅。\n\n触手凉润，仿佛能触到旧时案头的沉静时光，将文学意趣与治玉匠心精妙相合，把礼制风雅悄然藏于一方玉册之中，是文心与工艺交融的上乘之作。",[843,649,1163,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52f24e616200cedbab05d9eeb2b6ea3.jpg",[],{"id":6533,"slug":6534,"title":6535,"dynasty":422,"author":210,"museum":171,"description":6536,"tags":6537,"thumbUrl":6538,"material":177,"size":228,"collection":87,"collections":6539,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},275812,"qing-yu-yu-zhi-shi-ce-yi-ming-275812","青玉御制诗册","红木函盒内敛温润，漆面题签古雅沉静，晕开旧时光的厚重质感。玉质匀净凝润，墨笔诗文镌刻隽秀端庄，刀工细腻妥帖，笔画舒展雅致。\n\n诗文的翰墨风雅与玉石的清润内敛相融，将宫廷文玩的雅致意趣静静沉淀。形制规整装帧考究，以精工细作尽显匠心，把玉石温润之美与御制文字的端方气度合为一体，带着沉静内敛的古典气韵，藏着不彰自显的华贵质感，是玉作与文心相合的绝佳载体。",[843,649,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347362d56b00e62fabeed107216e77b.jpg",[],{"id":6541,"slug":6542,"title":6543,"dynasty":422,"author":210,"museum":171,"description":6544,"tags":6545,"thumbUrl":6546,"material":177,"size":228,"collection":87,"collections":6547,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275810,"qing-yu-yu-zhi-wen-yuan-wen-yuan-wen-jin-san-ge-ji-ce-yi-ming-275810","青玉御制文渊文源文津三阁记册","紫檀匣身遍镌游龙，纹路辗转灵动，古朴沉穆间尽显仪范。内中玉册缠裹云锦，明黄为底，彩纹迤逦华贵。青玉质地匀净莹润，刀笔镌刻文字，笔画苍劲端方，走线利落细腻，将文阁藏书的风雅深意凝于方寸玉面，把对典藏文脉的珍视藏入匠心之中，是工艺与文藏意趣结合的上乘之作，静静承载着旧时内府的文脉记忆。",[843,649,139,1163,1096,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a9f09b699c53aa1bc4bfbf2c25f93d.jpg",[],{"id":6549,"slug":6550,"title":6551,"dynasty":422,"author":210,"museum":171,"description":6552,"tags":6553,"thumbUrl":6554,"material":177,"size":228,"collection":87,"collections":6555,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},275805,"qing-yu-yu-zhi-san-ge-ji-ce-yi-ming-275805","青玉御制三阁记册","此玉册取青玉为料，质地莹润凝厚，自带沉静内敛的君子气质。御制铭文以阴刻填金技法镌刻其上，笔意劲挺端严，尽显皇家制式的规整肃穆，填金工艺让字痕在玉色映衬下愈显华贵醒目。\n配套锦盒织纹古雅繁复，配色明丽沉稳，带着清宫器物独有的精致华贵，妥帖将玉册珍藏其中。它以玉为纸，以刀代笔，将御制文辞永久留存，既是帝王心迹的载体，更是玉作工艺与书法美学的精妙融合，静静沉淀着旧时宫苑的沉敛风华，是工艺价值与文史价值兼具的佳构。",[843,649,24,7,1163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd01b9e978c8f77336e7b8fe04f5f2a.jpg",[],{"id":6557,"slug":6558,"title":6559,"dynasty":422,"author":210,"museum":171,"description":6560,"tags":6561,"thumbUrl":6562,"material":177,"size":228,"collection":87,"collections":6563,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},275802,"qing-yu-yu-zhi-ji-shui-kao-ce-yi-ming-275802","青玉御制济水考册","外配红木匣盖，錾刻回纹环饰，题字端雅厚朴，装帧一如线装古籍，古韵悠然。内页青玉莹润细腻，以阴刻技法摹绘济水脉络，详考其源流变迁。刀工匀净凝练，走线利落，将舆地考据的严谨深意融于玉作之中。\n\n它将干巴巴的水文著述，化作可触可赏的雅致珍玩，把考据学风与治玉匠心相融，让学术思辨成为具象的美学载体，静静沉淀着旧时治学与造物的风雅意趣，是文心与工巧的绝妙契合。",[649,843,7,139,1163,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee92849caa11818a075e298bd5d774b.jpg",[],{"id":6565,"slug":6566,"title":6567,"dynasty":422,"author":210,"museum":171,"description":6568,"tags":6569,"thumbUrl":6570,"material":177,"size":228,"collection":87,"collections":6571,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275797,"qing-yu-liang-guo-zhi-shu-yu-zhi-jie-de-tang-ji-ce-yi-ming-275797","青玉梁国治书御制戒得堂记册","此册取青玉为料，仿书页形制成册，配红木函匣，匣面戗金题字古雅端方。玉页阴刻御制文辞，复刻手书笔意，刀工细致妥帖，将书法的端秀风骨尽数还原，字口填金与温润玉色相衬，更显华贵肃穆。整作将御制文心、书法意韵与治玉匠心相融，形制精巧雅致，既承载着文辞深意，又尽显清中期玉作与书法合璧的高超工艺水准，是兼具礼制内涵与文玩意趣的精妙佳器。",[843,649,24,7,25,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2335d27a53d7211461db47e82ce94968.jpg",[],{"id":6573,"slug":6574,"title":6575,"dynasty":422,"author":210,"museum":171,"description":6576,"tags":6577,"thumbUrl":6578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体，将旧时疗愈疾患的心血凝于尺幅之间。纸面斑驳是岁月摩挲的痕迹，静静诉说着曾被珍视翻阅的过往，藏着古人济世疗疾的温热智慧，带着旧世杏林的脉脉余温，是传统中医烟火气与传承心的具象留存。",[7,24,25,6586,649,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeaa24ffea24fd7212123e7b65eb0045.jpg",[],{"id":6646,"slug":6647,"title":6648,"dynasty":422,"author":210,"museum":171,"description":6649,"tags":6650,"thumbUrl":6652,"material":177,"size":228,"collection":87,"collections":6653,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273991,"yan-ke-men-yao-fang-yi-ming-273991","“眼科门”药方","泛黄麻纸裹挟着旧时光晕，封皮题字朴拙苍劲，带着老中医提笔时的沉静力道。内页工整小楷清晰罗列眼目诸方，墨迹虽历经年岁依旧匀净明了。\n\n十九样眼科药方藏着旧时民间医技的细致巧思，纸面折痕与藏品编号，默默诉说它曾被反复翻阅、妥帖收存的过往。它跳脱开精致雅玩的范畴，带着实打实的实用温度，是传统中医眼科诊疗智慧的具象缩影，将晚清民间行医的日常封存在这尺幅纸页之中。",[7,24,25,6586,6651,28,29,984],"中医药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcace45b47bbc81f2b01aeed56ba05067.jpg",[],{"id":6655,"slug":6656,"title":6657,"dynasty":422,"author":210,"museum":171,"description":6658,"tags":6659,"thumbUrl":6660,"material":177,"size":228,"collection":87,"collections":6661,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273990,"pi-wei-men-yao-fang-yi-ming-273990","“脾胃门”药方","泛黄封皮上的榜书大字朴拙沉凝，笔力苍劲沉稳，侧边小字内敛克制，晕染着旧时光的温凉。内页小楷工整流丽，一行行药方排布齐整，淡褪的墨迹仍清晰留存着手泽余温。\n\n它无山水花鸟的雅致，却藏着旧时医者的仁心。纸面褶皱里浸着岁月痕迹，每味药材的配比，都是古人疗愈脾胃的经验凝练，将中式康养的日常智慧，封存在这一方旧纸之中，静静诉说着往昔杏林传承的脉脉温情。",[6586,7,25,24,915,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb87fd90b605e32acdd35c93a31552ee2.jpg",[],{"id":6663,"slug":6664,"title":6665,"dynasty":422,"author":210,"museum":171,"description":6666,"tags":6667,"thumbUrl":6669,"material":177,"size":228,"collection":87,"collections":6670,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273989,"shang-han-men-yao-fang-yi-ming-273989","“伤寒门”药方","泛黄纸页带着岁月浸淫的旧色，题字朴拙苍劲，带着手写的随性温度，全无刻板匠气。内页工整抄录的药方，藏着民间杏林的鲜活脉络。纸页边缘摩挲出的毛边，是反复翻阅的痕迹，凝着旧时医者反复参照的日常。\n\n它没有雕版印刷的规整，却带着市井行医的烟火气，将中医药的传承藏在笔墨之间，是民间杏林仁心的具象遗存，静静诉说着旧时医家抄录药方、守护一方的过往。",[7,24,25,6586,915,984,6668],"纸张","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a80b55c30bb8101a05eee750d1547f.jpg",[],{"id":6672,"slug":6673,"title":6674,"dynasty":422,"author":210,"museum":171,"description":6675,"tags":6676,"thumbUrl":6677,"material":177,"size":228,"collection":87,"collections":6678,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273988,"tan-sou-men-yao-fang-yi-ming-273988","“痰嗽门“药方","纸面晕开岁月的黄痕，墨笔手书朴拙苍劲，旧册页与药方笺带着旧时光的温润质感。\n这里收录二十七样痰嗽丸方，每一味药材配伍都详实工整，全无浮华雕饰，尽是杏林医者实打实的疗病心得。\n没有精致装帧，满是实用的烟火气，将旧时民间行医的细致与仁心藏于泛黄纸间，是中医药文化传承的鲜活注脚，静静诉说着古人的养生智慧，让百年前的疗病暖意，仍能透过纸面传递至今。",[7,24,25,104,6586,915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bd79360285a1d1b1809d5cda909748.jpg",[],{"id":6680,"slug":6681,"title":6682,"dynasty":422,"author":210,"museum":171,"description":6683,"tags":6684,"thumbUrl":6685,"material":177,"size":228,"collection":87,"collections":6686,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273986,"shang-shou-ren-shen-yu-shu-zhang-yi-ming-273986","《上收人参于术账》","封面暗刻缠云纹自带沉静古雅，端正的馆阁体墨字题款朴拙厚重。没有华丽的装帧与纹饰，这册账页带着独有的市井烟火气，以最平实的方式记录着药材收兑的日常。\n\n纸面泛黄发脆的边角、晕开的墨痕，都是岁月摩挲留下的痕迹，藏着晚清民间药行流转的鲜活细节，是商贸业态的微观注脚。它褪去了文玩藏品的刻意雕琢，以直白真切的日常留存，成为触摸旧时市井营生的鲜活载体，带着朴素又温热的历史质感。",[7,25,3584,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e63797de41206d44848bf1f9e68db5.jpg",[],{"id":6688,"slug":6689,"title":6690,"dynasty":422,"author":210,"museum":171,"description":6691,"tags":6692,"thumbUrl":6694,"material":177,"size":228,"collection":87,"collections":6695,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273985,"shang-yong-shang-yao-yao-wei-deng-xiang-di-bu-yi-ming-273985","《上用上要药味等项底簿》","纸面晕开旧时光的黄晕，暗纹隐在纸间沉静雅致。板框内题字端稳工整，右侧手书的光绪纪年墨迹依旧清晰，标注着这部底簿数载过往。\n\n它是旧时药料采办调配的详实底账，刊刻的规整与手书的随性相映成趣，既有官档的严整，又藏着日常署务的温热细节。纸面的斑驳痕迹皆是岁月摩挲的印记，静静承载着清代药业运作的细碎脉络，是窥见彼时医署日常、药务流转的珍贵遗存。",[7,832,25,24,984,6693],"底簿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ad0b0770480392c75b1f45dc7e406f.jpg",[],{"id":6697,"slug":6698,"title":6699,"dynasty":422,"author":210,"museum":171,"description":6700,"tags":6701,"thumbUrl":6703,"material":177,"size":228,"collection":87,"collections":6704,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273984,"shang-chuan-jiao-cun-wai-shang-di-bu-yi-ming-273984","《上传交存外赏底簿》","米黄色装帧素雅沉静，签条墨字端方内敛，朱红藏印晕开一抹亮色。内页小楷清隽工整，笔意匀净秀挺，诸般名目罗列齐整，墨色历经岁月经年仍清晰饱满。泛黄笺纸晕开时光痕迹，带着旧物独有的温润质感。\n\n它并非精工雅制的藏品，却带着旧文书独有的规整严谨，藏着往昔的日常脉络。细碎名目背后是旧时的烟火日常，朴素纸面承载着岁月沉淀的厚重温度，静静诉说着过往的细碎旧事，将平淡往昔凝练成可触摸的时光标本，带着沉静的烟火气，成为回望旧时日常的珍贵载体。",[7,24,25,6702,984,982],"中医药方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2455be6ef6141f5921c37d62879401be.jpg",[],{"id":6706,"slug":6707,"title":6708,"dynasty":422,"author":210,"museum":171,"description":6709,"tags":6710,"thumbUrl":6711,"material":177,"size":228,"collection":87,"collections":6712,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273983,"ge-zhong-gao-yao-di-zhang-yi-ming-273983","《各种膏药底账》","这是一册带着旧时光温度的线装底账，版式朴拙雅致。朱丝界栏里，墨笔书就的字迹工整端方，左侧题签醒目利落，右侧则是开立时日与琳琅满目的膏方药目。\n\n泛黄纸页间藏着晚清民间医药的鲜活脉络，一行行手录的膏方名目，皆是旧时药人传习的医药智慧。素净装帧承载着药行日常，纸面晕开的岁月痕迹，都是往昔市井药铺的烟火注脚，静静诉说着百年前的行医往事。",[7,25,24,6651,983,2015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abb336fb6e806928d24837a39c1a0e.jpg",[],{"id":6714,"slug":6715,"title":6716,"dynasty":422,"author":210,"museum":171,"description":6717,"tags":6718,"thumbUrl":6720,"material":177,"size":228,"collection":87,"collections":6721,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273982,"zao-bing-lang-deng-yao-di-bu-yi-ming-273982","《枣槟榔等药底簿》","这是一方浸着旧时光的线装簿册，米黄封皮带着岁月晕开的柔和色泽，竖排墨字端稳舒展，笔墨沉静质朴，无多余修饰，尽是中式古籍的清雅风骨。\n\n纸面浅淡的泛黄痕迹，是时光摩挲而过的印记。封侧小字藏着旧时药铺的日常脉络，没有繁复纹饰，却以极简装帧承载着传统行医的细致日常，将烟火气的行医过往封存在纸页之间，静静诉说着旧日抓药记账的平凡日常，是平淡却珍贵的传统行业缩影，藏着独属于旧时代的沉静暖意。",[7,982,25,6719],"医药文献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20a1fbd75635bbd3a57362cc1d14d8b.jpg",[],{"id":6723,"slug":6724,"title":6725,"dynasty":422,"author":210,"museum":171,"description":6726,"tags":6727,"thumbUrl":6728,"material":177,"size":228,"collection":87,"collections":6729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273981,"liu-shui-chu-zhang-yi-ming-273981","《流水出账》","绫面云纹温婉雅致，竖排墨书端厚朴拙，笔力沉凝稳正，带着旧时手作的质朴温度。泛黄纸页晕开岁月痕迹，规整题字暗藏商号日常的细碎脉络，把市井生计的日常凝于纸面。\n\n没有繁复雕饰，只以素净装帧承载烟火账本，将商号流水的收支点滴妥帖安放，是藏于古籍里的市井注脚，静静诉说着旧时的经营日常，朴素沉静间晕开旧时光的厚重质感。",[7,982,25,24,983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebc371d5822e01938c016970c5e270e.jpg",[],{"id":6731,"slug":6732,"title":6733,"dynasty":422,"author":210,"museum":171,"description":6734,"tags":6735,"thumbUrl":6736,"material":177,"size":228,"collection":87,"collections":6737,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273980,"chuan-yao-di-zhang-yi-ming-273980","《传药底账》","封面以祥云游龙暗纹为底，自带沉静古雅的底色。两处竖排墨字一敛一舒，左侧牌框里的题字方正端凝，尽显账册的规整肃穆，右侧题字笔墨清劲舒展，带着晚清文人的书卷意。角落朱红藏书印小巧醒目，为素雅封面添上一抹鲜活暖意，勾勒出旧藏典籍的流转痕迹。整体装帧简约克制，将实用医账文书融于传统线装形制中，内敛又庄重，静静沉淀着旧时医馆的日常脉络，把寻常文牍晕染出雅致的书卷质感。",[7,25,24,3584,3675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb58e537f0e50abe952e332b0ebe7223.jpg",[],{"id":6739,"slug":6740,"title":6741,"dynasty":422,"author":210,"museum":171,"description":6742,"tags":6743,"thumbUrl":6745,"material":177,"size":228,"collection":87,"collections":6746,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273978,"shang-jiao-wan-san-yao-wei-di-bu-yi-ming-273978","《上交丸散药味底簿》","整体装帧素雅古旧，左侧竖排题签笔墨端凝方正，右侧朱栏小楷秀雅工整，一笔一划沉静内敛，工整开列诸方名号。米黄宣纸晕开岁月沉淀的色泽，墨色沉润明洁，极简版式无多余修饰，承载着传统中医药的传承脉络。\n\n它以实用本草之姿，融着文人笔墨的温雅，每一个药名背后都是往昔医家的经验积淀，质朴无华却意蕴厚重，带着旧时光的温润质感，静静诉说着中医药文化的绵长底蕴。",[7,24,25,6702,6744],"簿册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9522a00c3cd56d4714305aa5c86bc08.jpg",[],{"id":6748,"slug":6749,"title":6750,"dynasty":422,"author":210,"museum":171,"description":6751,"tags":6752,"thumbUrl":6753,"material":177,"size":228,"collection":87,"collections":6754,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273977,"shang-jiao-yao-wei-deng-xiang-di-bu-yi-ming-273977","《上交药味等项底簿》","封面以浅素米纸为底，左侧竖书墨字朴拙方正，右侧明黄签条以朱笔分题药名，隽秀小楷工整流丽。整体装帧素雅沉静，带着旧物特有的温润质感。\n\n它跳脱刻板文书的冰冷，以手录温度承载旧时药事脉络，纸面晕开的浅淡痕迹，晕染出民间药铺的日常烟火。工整字迹藏着手录者的细致谨严，将药味名录化作旧时光里的鲜活遗存，静静铺陈着往日药事的细致章法。",[7,25,24,6719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b89e632ebc5285d9a862320bbb0755.jpg",[],{"id":6756,"slug":6757,"title":6758,"dynasty":422,"author":210,"museum":171,"description":6759,"tags":6760,"thumbUrl":6761,"material":177,"size":228,"collection":87,"collections":6762,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273974,"zong-guan-yong-yao-bu-yi-ming-273974","《总管用药簿》","靛蓝布面沉静古朴，朱红签题笔意方正端凝，带着晚清文书特有的肃穆质感。册页边角的磨损晕开时光的痕迹，旧麻线装订牵系着手作的温度，将百年前的行医日常封藏其中。\n\n这一方薄册是无声的药房档案，朴素装帧里沉淀着平实厚重的旧日医林烟火，把清末抓药存方的细碎日常，凝练成触手可及的岁月印记，静默诉说着旧时药庐里的温热往事。",[7,649,2015,24,25,6719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a3d329dfcf44c8fedc2c7c78907f1e0.jpg",[],{"id":6764,"slug":6765,"title":6766,"dynasty":422,"author":210,"museum":171,"description":6767,"tags":6768,"thumbUrl":6769,"material":177,"size":228,"collection":87,"collections":6770,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273973,"shang-jiao-fu-ling-di-bu-yi-ming-273973","《上交茯苓底簿》","素净泛黄的绢面装帧褪去鲜亮色泽，晕染开时光沉淀的温雅质感。左侧题签以细墨框界定，墨笔竖排书迹端稳朴拙，笔锋内敛克制，尽显旧牍文书的端庄气韵。右下角的藏书编号贴纸带着斑驳旧痕，为这本老簿添上后世典藏的印记。\n\n整器无繁复修饰，以极简形制承载旧时风物的厚重，凭沉凝墨色与古旧装裱晕开沉静古雅的氛围感，静静诉说着手作装帧的匠心，将过往岁月的细碎往事都封存在这一方薄册之中。",[7,25,24,2746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7594bc729a054ebbe31305acf386e84.jpg",[],{"id":6772,"slug":6773,"title":6774,"dynasty":422,"author":210,"museum":171,"description":6775,"tags":6776,"thumbUrl":6777,"material":177,"size":228,"collection":87,"collections":6778,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},273972,"shang-jiao-wan-san-gao-dan-yao-wei-ming-mu-zong-bu-yi-ming-273972","《上交丸散膏丹药味名目总簿》","它以素净麻布装帧，时光将纸面晕染出温润泛黄的色泽，边角磨损带着岁月摩挲的痕迹，藏着旧时光的温度。侧边题字工稳端方，笔锋沉敛内敛，无多余纹饰修饰，尽显实用质朴的古雅气质。这本旧帐簿没有华丽雕琢，却静静承载着旧时药铺的细致严谨，将中医药味与市井的人文烟火交融定格，无声诉说着过往的医馆日常。",[7,6651,25,24,1254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b0d6c5e24c1dee62d5b8f8a7d71302.jpg",[],{"id":6780,"slug":6781,"t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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。",[188,24,49,64,29,31,649,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835b438016ab1f3562bc3296162db440.jpg",[],{"id":7037,"slug":7038,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7039,"thumbUrl":7040,"material":177,"size":228,"collection":87,"collections":7041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},242418,"zhong-ke-chun-hua-ge-tie-yi-ming-242418",[779,832,24,26,7,225,25,905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bc40d56c5a51c462bad62ba179570a.jpg",[],{"id":7043,"slug":7044,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7045,"thumbUrl":7046,"material":177,"size":228,"collection":87,"collections":7047,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242404,"zhong-ke-chun-hua-ge-tie-yi-ming-242404",[24,26,188,31,49,64,29,7,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307dd88053721776ae15628d6bace2f6.jpg",[],{"id":7049,"slug":7050,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7051,"thumbUrl":7052,"material":177,"size":228,"collection":87,"collections":7053,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242371,"zhong-ke-chun-hua-ge-tie-yi-ming-242371",[24,188,26,29,49,64,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2eddcdeb0631c86178e9de4d73ac8a2.jpg",[],{"id":7055,"slug":7056,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7057,"thumbUrl":7058,"material":177,"size":228,"collection":87,"collections":7059,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242369,"zhong-ke-chun-hua-ge-tie-yi-ming-242369",[24,26,188,31,49,29,905,649,832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebd266962227d4710bc1d415aedbf3f.jpg",[],{"id":7061,"slug":7062,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7063,"thumbUrl":7064,"material":177,"size":228,"collection":87,"collections":7065,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242366,"zhong-ke-chun-hua-ge-tie-yi-ming-242366",[24,26,188,49,64,29,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4a3eff4faf76dee340d05ff7d4a711.jpg",[],{"id":7067,"slug":7068,"title":7031,"dynasty":422,"author":210,"museum":171,"description":7032,"tags":7069,"thumbUrl":7070,"material":177,"size":228,"collection":87,"collections":7071,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242359,"zhong-ke-chun-hua-ge-tie-yi-ming-242359",[24,188,26,31,49,64,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d545e62c72ef3dfb9c64207259430.jpg",[],{"id":7073,"slug":7074,"title":7075,"dynasty":422,"author":210,"museum":171,"description":7076,"tags":7077,"thumbUrl":7078,"material":177,"size":228,"collection":87,"collections":7079,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},242340,"kuai-xue-tang-tie-lian-ju-yi-ming-242340","快雪堂帖联句","此作为乌金拓本，银字耀于墨底，缠枝纹边框环绕，雅致端方。小楷点画工整流丽，是典型馆阁笔意，筋骨藏于娟秀之间。\n联句追怀名帖传世掌故，将墨帖千年流传的传奇、刻石成堂的风雅尽数咏入诗中。刀工精妙入微，把笔锋的起落转折完美复刻在拓纸上，让小楷的秀润意蕴分毫毕现。\n整体既有金石考据的沉静质感，又带着文人雅集题咏的清逸意趣，尽显对古法帖的追慕与雅致文心。",[188,24,25,26,832,7,905,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288eb5a62ad6df91049978217926a59.jpg",[],{"id":7081,"slug":7082,"title":7083,"dynasty":422,"author":1479,"museum":171,"description":1480,"tags":7084,"thumbUrl":7085,"material":177,"size":228,"collection":87,"collections":7086,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241634,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241634","致老夫子大人札",[24,49,48,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6dce66fbf563861fb4f15696b2e8c0.jpg",[],{"id":7088,"slug":7089,"title":2770,"dynasty":422,"author":7090,"museum":171,"description":7091,"tags":7092,"thumbUrl":7093,"material":177,"size":228,"collection":87,"collections":7094,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},241584,"lu-wen-ye-bai-qian-241584","柏谦","清（1697~1765），字蕴高（高一作皋），号东皋，崇明（今属上海市崇明区浜镇人）人。善楷书，有唐人风矩。庄舒取之虞世南，刚劲参之欧阳询。回翔馆阁，以文雅著称。卒年六十九。《王芝堂文集》。",[24,49,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9d2387c8130b6612d807e41b72da1.jpg",[],{"id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。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[80,832,84,649,3791,7165,374,7,103],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcff2f99211b1a55b9e637fee28b9a10.jpg",[],{"id":7169,"slug":7170,"title":7171,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7172,"thumbUrl":7173,"material":177,"size":228,"collection":87,"collections":7174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},232872,"dun-huang-yi-shu-97-yi-ming-232872","敦煌遗书97",[638,24,30,25,27,134,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006d65df44eebd634e633042ba460ff5.jpg",[],{"id":7176,"slug":7177,"title":7178,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7179,"thumbUrl":7180,"material":177,"size":228,"collection":87,"collections":7181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},232871,"dun-huang-yi-shu-96-yi-ming-232871","敦煌遗书96",[24,30,25,638,27,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5187305dbdd9ef58252d3ece9aa38d.jpg",[],{"id":7183,"slug":7184,"title":7185,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7186,"thumbUrl":7187,"material":177,"size":228,"collection":87,"collections":7188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},232870,"dun-huang-yi-shu-95-yi-ming-232870","敦煌遗书95",[638,30,24,25,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a296b6a22ad440f90334f4bcf20cf0e.jpg",[],{"id":7190,"slug":7191,"title":7192,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7193,"thumbUrl":7194,"material":177,"size":228,"collection":87,"collections":7195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},232869,"dun-huang-yi-shu-94-yi-ming-232869","敦煌遗书94",[638,30,24,25,7,27,119,104,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722eaf640735348a12ca4c932db5fd19.jpg",[],{"id":7197,"slug":7198,"title":7199,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7200,"thumbUrl":7201,"material":177,"size":228,"collection":87,"collections":7202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},232868,"dun-huang-yi-shu-93-yi-ming-232868","敦煌遗书93",[638,24,30,7,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323f0853880bc806f94ee31d65ed33c5.jpg",[],{"id":7204,"slug":7205,"title":7206,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7207,"thumbUrl":7208,"material":177,"size":228,"collection":87,"collections":7209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},232865,"dun-huang-yi-shu-91-yi-ming-232865","敦煌遗书91",[638,30,24,25,7,119,27,134,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face95514f1a21fad229d461f21020611.jpg",[],{"id":7211,"slug":7212,"title":7213,"dynasty":364,"author":210,"museum":171,"description":2413,"tags":7214,"thumbUrl":7215,"material":177,"size":228,"collection":87,"collections":7216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},232861,"dun-huang-yi-shu-90-yi-ming-232861","敦煌遗书90",[638,30,24,25,119,7,104,105,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868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