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年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[24,26,43,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","水墨纸本","108.5×24cm",[31],25,{"id":443,"slug":444,"title":445,"dynasty":18,"author":409,"museum":410,"description":411,"tags":446,"thumbUrl":458,"material":427,"size":428,"collection":121,"collections":459,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":190},222952,"hong-lou-meng-77-sun-wen-222952","红楼梦77",[23,60,134,133,447,135,413,448,449,450,7,451,452,453,454,455,456,457],"长卷","栏杆","灯笼","屏风","桌椅","帘子","室内场景","服饰","柱子","地毯","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb75e26a8f376aed3e1677a920d3885.jpg",[],{"id":461,"slug":462,"title":463,"dynasty":18,"author":409,"museum":410,"description":411,"tags":464,"thumbUrl":473,"material":427,"size":428,"collection":121,"collections":474,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":51},222951,"hong-lou-meng-76-sun-wen-222951","红楼梦76",[23,60,134,133,465,466,135,467,468,469,470,413,471,449,472,7],"青绿","山水","船","龙","桥","亭","树","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdcdd2b0e6efbaf7ad7defbef1bc16c.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":18,"author":175,"museum":109,"description":479,"tags":480,"thumbUrl":481,"material":119,"size":120,"collection":121,"collections":482,"showCount":483,"zanCount":80,"manualWeight":11,"mainColor":374},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 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，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[23,26,7,62,27,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],24,{"id":485,"slug":486,"title":487,"dynasty":18,"author":409,"museum":410,"description":411,"tags":488,"thumbUrl":493,"material":427,"size":428,"collection":121,"collections":494,"showCount":483,"zanCount":11,"manualWeight":11,"mainColor":190},223022,"hong-lou-meng-147-sun-wen-223022","红楼梦147",[23,60,134,133,489,135,490,491,114,419,492,7,113,425],"界画","器","兰","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fad45add6842dd2bc9c3a944040d18.jpg",[],{"id":496,"slug":497,"title":498,"dynasty":18,"author":409,"museum":410,"description":411,"tags":499,"thumbUrl":510,"material":427,"size":428,"collection":121,"collections":511,"showCount":483,"zanCount":11,"manualWeight":11,"mainColor":190},222903,"hong-lou-meng-28-sun-wen-222903","红楼梦28",[23,60,134,133,447,489,500,501,502,503,504,505,453,506,507,457,508,290,7,509],"人物画","古典绘画","庭院","树木","怪石","古典建筑","室外场景","人物活动","古代服饰","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf114af71bd44fc7209522477504afd.jpg",[],{"id":513,"slug":514,"title":271,"dynasty":18,"author":272,"museum":109,"description":515,"tags":516,"thumbUrl":517,"material":119,"size":120,"collection":121,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":51},240454,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240454","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,7,26,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7ecc54373f1706a45e8af74d58d61f.jpg",[],23,{"id":521,"slug":522,"title":283,"dynasty":18,"author":298,"museum":109,"description":299,"tags":523,"thumbUrl":524,"material":119,"size":120,"collection":121,"collections":525,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":51},230245,"qi-yan-lian-hong-yi-fa-shi-230245",[23,26,7,88,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08340d768183cc07f8beb0b3f1626165.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":18,"author":409,"museum":410,"description":411,"tags":530,"thumbUrl":538,"material":427,"size":428,"collection":121,"collections":539,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":374},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[23,60,61,134,133,135,453,290,7,450,531,532,533,534,535,536,537],"古装","家具","字画","传统服饰","古典陈设","中式建筑构件","室内装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93df387d900686b98bb06eaee91c247b.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":18,"author":40,"museum":544,"description":545,"tags":546,"thumbUrl":547,"material":196,"size":548,"collection":31,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":51},240989,"zhuan-shu-qi-yan-lian-deng-shi-ru-240989","篆书七言联","上海博物馆","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9dac009da8df7b2372ff3f123f2e4.jpg","纵168.8厘米；横84.3厘米",[31],21,{"id":552,"slug":553,"title":17,"dynasty":18,"author":272,"museum":554,"description":555,"tags":556,"thumbUrl":557,"material":196,"size":558,"collection":31,"collections":559,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":51},240392,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240392","北京故宫博物院","释文：\n花时鲤帛寓安迺乐，辞中虎帅写翰为猷。 集猎碣字。时丁巳先花朝数日客春申浦。安吉吴昌硕。\n此件集石鼓文对联书于民国六年（1917年），吴昌硕时年74岁。笔法浑厚流畅，方圆兼济，变化丰富，充满古朴凝练、沉实恣肆的金石气，是吴昌硕晚年创作的石鼓文精品。\n石鼓为战国时期秦国刻石，以形状似鼓而得名，因铭文内容记述贵族游猎事，又称猎碣。石鼓共十只，分刻先秦古歌一篇。石鼓文是籀文向小篆过渡阶段的文字，其体态堂皇整肃，笔法雄浑圆活，风神气质在古文字书法中独树一帜。因时代久远，字迹多有磨灭。石鼓现藏北京故宫博物院（注：展出地点会变化）。\n作为继邓石如之后的又一位篆书大师，吴昌硕将邓石如立足小篆的探索领域拓展到商周大篆，主要围绕石鼓文进行创作。他打破了清人以笔追金的拟古观念，以自然舒展的行书笔法入篆，从神形两方面表现三代文字雄强苍浑的审美趣味，为大篆古法注入了新的气息。",[25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c8a69672213d323d9e057a5fb9345f.jpg","纵172.5厘米，横36.7厘米",[31],{"id":561,"slug":562,"title":563,"dynasty":18,"author":409,"museum":410,"description":411,"tags":564,"thumbUrl":574,"material":427,"size":428,"collection":121,"collections":575,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":190},223049,"hong-lou-meng-174-sun-wen-223049","红楼梦174",[23,60,61,134,133,135,413,502,503,290,7,419,565,457,566,505,567,568,507,534,569,570,571,572,573],"仕女","花木","室内陈设","植物景观","中式庭院","工笔重彩","建筑细节","器物陈列","花木点缀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fad2c2f3af8a63a17937234540e5be.jpg",[],{"id":577,"slug":578,"title":579,"dynasty":18,"author":409,"museum":410,"description":411,"tags":580,"thumbUrl":592,"material":427,"size":428,"collection":121,"collections":593,"showCount":550,"zanCount":80,"manualWeight":11,"mainColor":190},222992,"hong-lou-meng-117-sun-wen-222992","红楼梦117",[23,134,133,581,135,453,532,450,451,7,419,582,583,584,537,585,586,587,588,290,589,590,591],"重彩","镜子","坐垫","地砖","古装人物","跪姿人物","站立人物","坐像人物","红色织物","彩色服饰","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd16ff9d69ff438ca69c1c2cca252e1f.jpg",[],{"id":595,"slug":596,"title":597,"dynasty":18,"author":409,"museum":410,"description":411,"tags":598,"thumbUrl":601,"material":427,"size":428,"collection":121,"collections":602,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":190},222882,"hong-lou-meng-7-sun-wen-222882","红楼梦7",[23,60,599,134,133,135,413,600,472,470,7,503,448,466,451],"名画","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c7e9c57c5191efaad6178b445f8396.jpg",[],{"id":604,"slug":605,"title":606,"dynasty":18,"author":399,"museum":554,"description":607,"tags":608,"thumbUrl":609,"material":610,"size":611,"collection":31,"collections":612,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":51},240453,"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","释文：\n古砚华笺分桂上露，清言妙理来松下风。\n韫斋大公祖大人正。弟何绍基。\n款署 ：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[7,26,88,44,276,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纸本，楷书","纵191.4厘米，横42.8厘米",[31],20,{"id":615,"slug":616,"title":617,"dynasty":18,"author":618,"museum":109,"description":619,"tags":620,"thumbUrl":621,"material":121,"size":121,"collection":121,"collections":622,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":51},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","郑板桥","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,60,61,27,45,7,62,44,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":624,"slug":625,"title":478,"dynasty":18,"author":399,"museum":109,"description":626,"tags":627,"thumbUrl":628,"material":119,"size":120,"collection":121,"collections":629,"showCount":630,"zanCount":34,"manualWeight":11,"mainColor":35},290490,"shu-fa-dui-lian-he-shao-ji-290490","何绍基（1799年—1873年），字子贞，号东洲，别号东洲居士，晚号猿叟（一作蝯叟），湖南道州（今道县）人，晚清诗人、画家、书法家。\n道光十六年进士。咸丰初简四川学政，曾典福建等乡试。历主山东泺源、长沙城南书院。\n何绍基通经史，精小学金石碑版。据《大戴记》考证《礼经》。书法初学颜真卿，又融汉魏而自成一家，尤长草书。著有《惜道味斋经说》《东洲草堂诗·文钞》《说文段注驳正》等。",[45,26,7,27,62,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb165d6f599d8ea06cab18bf59596db24.jpg",[],19,{"id":632,"slug":633,"title":634,"dynasty":18,"author":19,"museum":554,"description":635,"tags":636,"thumbUrl":637,"material":638,"size":639,"collection":31,"collections":640,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":51},240851,"yang-yi-sun-zhuan-shu-qi-yan-lian-yang-yi-sun-240851","杨沂孙篆书七言联","释文：梅花有香清在骨，谏果之味美于回。梦陶世讲兄雅正。濠叟杨沂孙书。\n款署：“梦陶世讲兄雅正。濠叟杨沂孙书。”钤“杨沂孙印”白文印、“濠叟”白文印、“历劫不磨”朱文印。\n此幅是杨沂孙为友人所作篆书对联，笔力苍劲，篆法精纯，结构严整，表现出其晚年篆书的成熟面貌。",[26,25,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751fd00444ea219ce8358b97c8085aec.jpg","纸本，篆书","纵133厘米，横29.8厘米",[31],{"id":642,"slug":643,"title":644,"dynasty":18,"author":645,"museum":109,"description":646,"tags":647,"thumbUrl":648,"material":119,"size":120,"collection":121,"collections":649,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":51},240848,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240848","伊秉绶五言联","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[18,26,7,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86dc31ec88585937498c6737eb8c39.jpg",[],{"id":651,"slug":652,"title":644,"dynasty":18,"author":645,"museum":109,"description":646,"tags":653,"thumbUrl":654,"material":119,"size":120,"collection":121,"collections":655,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":51},240471,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240471",[26,43,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd3ce9877a50b33016bcecc8a616d9.jpg",[],{"id":657,"slug":658,"title":283,"dynasty":18,"author":272,"museum":109,"description":659,"tags":660,"thumbUrl":661,"material":121,"size":121,"collection":31,"collections":662,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":51},239945,"qi-yan-lian-wu-chang-shuo-239945","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[60,61,27,45,44,7,62,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[31],{"id":664,"slug":665,"title":478,"dynasty":18,"author":399,"museum":109,"description":626,"tags":666,"thumbUrl":667,"material":119,"size":120,"collection":121,"collections":668,"showCount":630,"zanCount":80,"manualWeight":11,"mainColor":35},224437,"shu-fa-dui-lian-he-shao-ji-224437",[26,7,62,45,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19723fa203ce6b93cc4b22740314ff7.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":18,"author":409,"museum":410,"description":411,"tags":673,"thumbUrl":674,"material":427,"size":428,"collection":121,"collections":675,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":51},223007,"hong-lou-meng-132-sun-wen-223007","红楼梦132",[23,60,61,134,133,135,454,532,416,450,7,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32553c012ce6da2e7f869061a13b57c8.jpg",[],{"id":677,"slug":678,"title":317,"dynasty":18,"author":434,"museum":109,"description":679,"tags":680,"thumbUrl":681,"material":119,"size":120,"collection":121,"collections":682,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":190},241199,"wu-yan-lian-huang-yi-241199","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[26,43,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32df7ad27e73a002c20b7597bacf1fd.jpg",[],18,{"id":685,"slug":686,"title":317,"dynasty":18,"author":645,"museum":554,"description":687,"tags":688,"thumbUrl":689,"material":196,"size":690,"collection":31,"collections":691,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":51},240691,"wu-yan-lian-yi-bing-shou-240691","释文：\n为文以载道，论诗将通禅。 书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[26,7,43,45,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[31],{"id":693,"slug":694,"title":644,"dynasty":18,"author":645,"museum":109,"description":646,"tags":695,"thumbUrl":696,"material":119,"size":120,"collection":121,"collections":697,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":51},240137,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240137",[26,7,43,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bfa546eb01321f2886a760774bd04c.jpg",[],{"id":699,"slug":700,"title":701,"dynasty":18,"author":298,"museum":109,"description":299,"tags":702,"thumbUrl":703,"material":119,"size":120,"collection":121,"collections":704,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":190},230261,"zhuan-shu-dui-lian-hong-yi-fa-shi-230261","篆书对联",[23,26,25,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3f0082cd2356172086231095f1cd39.jpg",[],{"id":706,"slug":707,"title":708,"dynasty":18,"author":409,"museum":410,"description":411,"tags":709,"thumbUrl":713,"material":427,"size":428,"collection":121,"collections":714,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":190},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,134,133,489,135,453,532,289,290,26,7,710,414,711,449,712],"书架","凳子","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":716,"slug":717,"title":718,"dynasty":18,"author":409,"museum":410,"description":411,"tags":719,"thumbUrl":723,"material":427,"size":428,"collection":121,"collections":724,"showCount":725,"zanCount":11,"manualWeight":11,"mainColor":190},223037,"hong-lou-meng-162-sun-wen-223037","红楼梦162",[23,134,133,489,135,413,600,502,503,720,448,7,712,454,721,722,289],"芭蕉","圆门","石砌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edd479f0a2701bf148e6d6eddbb9fe4.jpg",[],17,{"id":727,"slug":728,"title":729,"dynasty":18,"author":272,"museum":109,"description":730,"tags":731,"thumbUrl":732,"material":121,"size":121,"collection":121,"collections":733,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":51},230222,"shu-fa-12-wu-chang-shuo-230222","书法12","此作以石鼓文为笔底根基，线条圆厚苍劲，裹毫藏锋，力透纸背，尽显沉雄老辣的金石意趣。联文结体欹正相生，错落朴拙，自带古籀文字原生的朴茂气质。\n字间行气疏朗贯通，左侧小字落款搭配朱红印章点缀，墨色浓淡呼应，章法从容雅致。将篆刻刀意融于笔端，苍浑大气中暗含灵动姿态，把碑学书法的雄浑意韵尽数诠释，朴拙厚重间尽显文人风骨，是极具代表性的苍古雄健的篆书典范。",[23,61,26,25,44,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf459ef02caa3bf692764c1467f11c0.jpg",[],16,{"id":736,"slug":737,"title":738,"dynasty":18,"author":409,"museum":410,"description":411,"tags":739,"thumbUrl":745,"material":427,"size":428,"collection":121,"collections":746,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":51},223003,"hong-lou-meng-128-sun-wen-223003","红楼梦128",[23,60,134,133,570,489,135,565,740,450,451,741,416,289,742,26,7,567,743,744,456],"男性人物","钟表","博古架","床榻","门窗装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15048d1f933285da7cc7778f620039b5.jpg",[],{"id":748,"slug":749,"title":750,"dynasty":18,"author":409,"museum":410,"description":411,"tags":751,"thumbUrl":755,"material":427,"size":428,"collection":121,"collections":756,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":51},222910,"hong-lou-meng-35-sun-wen-222910","红楼梦35",[23,134,133,489,135,413,503,502,448,752,532,753,7,419,754],"台阶","礼器","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618b9b69bd89829d4f54da823387009b.jpg",[],{"id":758,"slug":759,"title":760,"dynasty":18,"author":298,"museum":109,"description":299,"tags":761,"thumbUrl":762,"material":119,"size":120,"collection":121,"collections":763,"showCount":764,"zanCount":80,"manualWeight":11,"mainColor":765},230259,"dui-lian-dang-wei-shi-yi-hong-yi-fa-shi-230259","对联《当为世依》",[24,26,7,62,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8abbaeb25fda56919c51d407bfa57c7.jpg",[],15,"FFFFFF",{"id":767,"slug":768,"title":769,"dynasty":18,"author":409,"museum":410,"description":411,"tags":770,"thumbUrl":773,"material":427,"size":428,"collection":121,"collections":774,"showCount":764,"zanCount":11,"manualWeight":11,"mainColor":51},222978,"hong-lou-meng-103-sun-wen-222978","红楼梦103",[23,60,134,133,489,135,771,413,503,772,502,290,451,7],"美人","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ee55bee9948bbb95c8114264b67087.jpg",[],{"id":776,"slug":777,"title":283,"dynasty":18,"author":778,"museum":109,"description":779,"tags":780,"thumbUrl":781,"material":119,"size":120,"collection":121,"collections":782,"showCount":783,"zanCount":11,"manualWeight":11,"mainColor":374},241356,"qi-yan-lian-weng-fang-gang-241356","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。",[26,7,43,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2fb9386177a8ae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年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n黃易為詩人黃樹谷之子，曾任監生、官濟寧同知。其父工篆隸，通金石。黃易繼父業，以篆刻著稱於世。隸書摹《校官碑額》，小隸有似《武梁祠題字》。精於博古，喜集金石文字，廣搜碑刻，繪有《訪碑圖》，並著《小蓬萊閣金石文字》等。故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽，與丁敬並稱“丁黃”，為“西泠八家”之一。隸書《警語》，其書筆劃圓潤平實，氣勢宏大，深得古法，是謂大家。\n因為他與丁敬都研究金石學，兼擅篆刻，當時並稱丁黃。何元錫曾將二人印稿合揖成《丁黃印譜》。\n他有小心落墨，大膽奏刀一語，深得篆刻三昧。\n傳世墨跡有《節臨石門頌軸》《隸書軸》等。關於黃易的研究，以“西泠八家”研究學者朱琪的《黃易的生平與金石學貢獻》（《西泠印社重振金石學國際學術研討會論文集》）、《黃易家世考》《黃易字號齋室圖説》系列論文最為深入，並著有《黃易研究》《黃易年譜》等書稿。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。\n卒年五十九。著《小蓬萊閣詩鈔》等。",[26,7,43,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2b8856755107c04017ba77501e242.jpg","纵123厘米，横30.5厘米",[31],{"id":801,"slug":802,"title":283,"dynasty":18,"author":803,"museum":109,"description":804,"tags":805,"thumbUrl":806,"material":121,"size":121,"collection":31,"collections":807,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":190},239944,"qi-yan-lian-tang-yi-fen-239944","汤贻汾","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[24,26,7,62,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[31],{"id":809,"slug":810,"title":283,"dynasty":18,"author":165,"museum":109,"description":811,"tags":812,"thumbUrl":813,"material":121,"size":121,"collection":31,"collections":814,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":51},239693,"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[26,7,62,61,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[31],{"id":816,"slug":817,"title":818,"dynasty":18,"author":298,"museum":109,"description":819,"tags":820,"thumbUrl":822,"material":196,"size":121,"collection":823,"collections":824,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":51},223275,"fa-tie-hong-yi-fa-shi-223275","法帖","李叔同（1880年10月23日－1942年10月13日），又名李息霜、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。",[23,26,88,45,44,7,821],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7095a65f0b56772d2c979363e6860997.jpg","碑帖精选",[823],{"id":826,"slug":827,"title":828,"dynasty":18,"author":409,"museum":410,"description":411,"tags":829,"thumbUrl":830,"material":427,"size":428,"collection":121,"collections":831,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":190},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,60,134,133,489,135,7,503,451,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":833,"slug":834,"title":283,"dynasty":18,"author":835,"museum":109,"description":836,"tags":837,"thumbUrl":838,"material":196,"size":121,"collection":31,"collections":839,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":51},240281,"qi-yan-lian-weng-tong-he-240281","翁同龢","翁同龢（1830-1904），字叔平，號松禪， 別署均齋、瓶笙、瓶廬居士、並眉居士等，別號天放閒人，晚號瓶庵居士，江蘇常熟人，中國近代史上著名政治家、書法藝術家。體仁閣大學士翁心存第三子，咸豐六年（1856年）狀元，歷任户部、工部尚書、軍機大臣兼總理各國事務衙門大臣。先後擔任清同治、光緒兩代帝師。卒後追諡文恭。\n翁同龢工詩，間作畫，尤以書法名世，幼學歐、褚，初學董其昌、米芾，中年後由錢灃上追顏真卿，又不受顏字束縛，結體寬博開張，筆畫剛勁有力，風格蒼渾遒勁，朴茂雍容，著有《翁文恭公日記》《瓶廬詩文稿》等。",[61,26,62,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2397a6c891f444b01b985452b67db6.jpg",[31],12,{"id":842,"slug":843,"title":844,"dynasty":18,"author":409,"museum":410,"description":411,"tags":845,"thumbUrl":850,"material":427,"size":428,"collection":121,"collections":851,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":51},222924,"hong-lou-meng-49-sun-wen-222924","红楼梦49",[23,134,133,135,413,503,472,846,847,772,502,848,849,7],"荷花","荷叶","石阶","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa157efabf61a32a02f8a26e2a8bc10fc.jpg",[],{"id":853,"slug":854,"title":855,"dynasty":18,"author":272,"museum":109,"description":515,"tags":856,"thumbUrl":858,"material":119,"size":120,"collection":121,"collections":859,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":190},290488,"zhuan-shu-wu-yan-lian-jing-xin-wu-chang-shuo-290488","篆书五言联镜心",[60,61,26,7,25,857,468],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2737cc12be3d723f4ecca0204fbdb2.jpg",[],11,{"id":862,"slug":863,"title":17,"dynasty":18,"author":864,"museum":554,"description":865,"tags":866,"thumbUrl":867,"material":196,"size":868,"collection":31,"collections":869,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":51},240597,"zhuan-shu-ba-yan-lian-sun-xing-yan-240597","孙星衍","孙星衍（1753年9月28日—1818年2月16日），是清代著名藏书家、目录学家、书法家、经学家。字渊如，号伯渊，别署芳茂山人、微隐。阳湖（今江苏武进）人，后迁居金陵。少年时与杨芳灿、洪亮吉、黄景仁以文学见长，袁枚称他为“天下奇才”。\n于经史、文字、音训、诸子百家，皆通其义。辑刊《平津馆丛书》《岱南阁丛书》堪称善本。著有《周易集解》《寰宇访碑录》《孙氏家藏书目录内外篇》《芳茂山人诗录》等多种文集",[24,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4293b21962edbb2653d973bfc5ea631.jpg","172.3×27cm×2",[31],{"id":871,"slug":872,"title":873,"dynasty":18,"author":874,"museum":109,"description":875,"tags":876,"thumbUrl":877,"material":119,"size":120,"collection":121,"collections":878,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":190},230182,"qi-yan-lian-li-zhou-chen-hong-shou-230182","七言联立轴","陈鸿寿","陈鸿寿（1768～1822年），钱塘（今浙江杭州）人，书画家、篆刻家。字子恭，号曼生、曼龚、曼公、恭寿、翼盦、种榆仙吏、种榆仙客、夹谷亭长、老曼等。曾任赣榆代知县、溧阳知县、江南海防同知。\n其工诗文、书画，善制宜兴紫砂壶，人称其壶为“曼生壶”。书法长于行、草、篆、隶诸体。行书峭拔隽雅、分书开张纵横，独步有清一代。篆刻师法秦汉玺印，旁涉丁敬、黄易等人，印文笔画方折，用刀大胆，自然随意，锋棱显露，古拙恣肆，苍茫浑厚。为“西泠八家”之一。\n有《种榆仙馆摹印》、《种榆仙馆印谱》行世，并著有《种榆仙馆诗集》、《桑连理馆集》。嘉庆二十一年为周春著的《佛尔雅》撰写序跋。",[23,26,27,7,62,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd7c21e471c4d64a1b1fba8d59d069a.jpg",[],10,{"id":881,"slug":882,"title":543,"dynasty":18,"author":883,"museum":109,"description":884,"tags":885,"thumbUrl":886,"material":119,"size":120,"collection":121,"collections":887,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":51},241203,"zhuan-shu-qi-yan-lian-wu-da-cheng-241203","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80d536598c2a5f48fc4e1ec2a5b9a88.jpg",[],9,{"id":890,"slug":891,"title":543,"dynasty":18,"author":883,"museum":109,"description":884,"tags":892,"thumbUrl":893,"material":119,"size":120,"collection":121,"collections":894,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":51},240633,"zhuan-shu-qi-yan-lian-wu-da-cheng-240633",[25,7,26,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ca4fad594e52295c9d0bcad4fdd43d.jpg",[],{"id":896,"slug":897,"title":271,"dynasty":18,"author":272,"museum":109,"description":515,"tags":898,"thumbUrl":899,"material":119,"size":120,"collection":121,"collections":900,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":51},240481,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240481",[25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec54eedb1d3fbb7b72507ae568a03364.jpg",[],{"id":902,"slug":903,"title":283,"dynasty":18,"author":219,"museum":109,"description":904,"tags":905,"thumbUrl":906,"material":121,"size":121,"collection":31,"collections":907,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":51},239947,"qi-yan-lian-lu-hui-239947","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加太平军工作，功名之路永绝。从刘德六游，习花果、翎毛，有出兰之誉。尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤吴大瀓，相与谈艺，大悦，纵观吴之所藏，上窥唐、宋，下樵元、明，艺事大进。旋客吴幕，得游三湘，辽东名胜。所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工汉隶，旁参魏晋六朝，遒劲而具有金石气。尝作衡山记游图八幅，认为生平杰作，谓可媲美黄易《访碑图》。\n光绪二十二年（1896）张之洞任江督，集海内名画家补绘元王恽所进《承华事略》，以总其事。图中衣冠、彝器悉准历代制度。中年归苏州，潜心绘事，考订金石文字，垂三十年。为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹评画中九友“以吴江陆廉夫得名最早，山水学四王，渲染尤能逼真。”",[26,7,62,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4306a6678d4afb150d8aef509e5d84.jpg",[31],{"id":909,"slug":910,"title":121,"dynasty":18,"author":272,"museum":109,"description":911,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立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 据传，东雾山西麓所建东岑禅院及山顶的石泉精舍，都是陈鹏年少时读书的地方。墓之东西有石龙山、彭何观等景观。石龙山系宋末文人李半村隐居之地。过去有石龙寺，后改名慈航庵。西有洞口水库等景观。南有青翠峰、清总兵陈必友故居位于此处。",[26,7,27,62,44,421,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79145631ef2fecdb874957b66efd5f.jpg","立轴纸本",[31],{"id":948,"slug":949,"title":17,"dynasty":18,"author":389,"museum":109,"description":390,"tags":950,"thumbUrl":951,"material":119,"size":120,"collection":121,"collections":952,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":51},239955,"zhuan-shu-ba-yan-lian-mo-you-zhi-239955",[25,7,26,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcfaf34bd8b13c983867dabbfc917170.jpg",[],{"id":954,"slug":955,"title":17,"dynasty":18,"author":272,"museum":109,"description":515,"tags":956,"thumbUrl":957,"material":119,"size":120,"collection":121,"collections":958,"showCount":959,"zanCount":11,"manualWeight":11,"mainColor":190},240575,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240575",[24,25,7,26,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783fc7cf64ec2820035c6b8d989df963.jpg",[],7,{"id":961,"slug":962,"title":963,"dynasty":18,"author":964,"museum":109,"description":965,"tags":966,"thumbUrl":967,"material":121,"size":121,"collection":31,"collections":968,"showCount":959,"zanCount":11,"manualWeight":11,"mainColor":51},239942,"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[61,26,7,27,62,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[31],{"id":970,"slug":971,"title":972,"dynasty":973,"author":974,"museum":109,"description":975,"tags":976,"thumbUrl":978,"material":119,"size":120,"collection":121,"collections":979,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":51},289740,"wu-yan-lian-tuan-shan-zhao-dun-289740","五言联团扇","宋","赵惇","宋光宗赵惇（1147年9月30日—1200年9月17日），宋朝第十二位皇帝，南宋朝第三位皇帝，（1189年2月18日—1194年7月24日在位），临安府钱塘县（今浙江杭州）人，宋孝宗赵昚第三子，母为成穆皇后郭氏。\n绍兴十七年九月乙丑日（1147年9月30日），生于孝宗藩邸。绍兴二十年（1150年），赐名赵惇，授右监门卫率府副率，转荣州刺史。宋孝宗即位后，拜镇洮军节度使、开府仪同三司，封恭王。乾道七年（1171年）立为皇太子。淳熙十六年（1189年），受宋孝宗禅位，登基为帝，改元绍熙。绍熙五年（1194年）禅位于次子赵扩，成为太上皇，史称“绍熙内禅”。\n庆元六年八月辛卯日（1200年9月17日），驾崩于寿康宫，享年五十四岁，谥号宪仁圣哲慈孝皇帝，庙号光宗，葬于永崇陵。嘉泰三年（1203年），加谥号为循道宪仁明功茂德温文顺武圣哲慈孝皇帝。\n赵惇继位之初，确有革故鼎新之意，能听取臣下谏言，也裁汰了一些不肖者。但他“宫闱妒悍”，惧内心理严重，以致后期荒废朝政；又听信谗言疏离太上皇赵昚，引起南宋的政治危机。赵惇在位五年，“乾淳之治”的成果渐消，南宋开始由盛转衰。",[977,26,88,7,44],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06fc23a564439189d39ab20cb50f3c6e.jpg",[],6,{"id":982,"slug":983,"title":984,"dynasty":18,"author":434,"museum":109,"description":679,"tags":985,"thumbUrl":986,"material":119,"size":120,"collection":121,"collections":987,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":190},241169,"zhuan-shu-wu-yan-lian-huang-yi-241169","篆书五言联",[25,26,7,24,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee2fcc89afd93421fdcbd37bb5f1122.jpg",[],{"id":989,"slug":990,"title":283,"dynasty":18,"author":991,"museum":109,"description":992,"tags":993,"thumbUrl":996,"material":119,"size":120,"collection":121,"collections":997,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":51},240822,"qi-yan-lian-fei-dan-xu-240822","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[26,62,7,287,470,994,995],"山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfdc67f964f63eb8718cd5e0dd3488a.jpg",[],{"id":999,"slug":1000,"title":317,"dynasty":18,"author":434,"museum":109,"description":679,"tags":1001,"thumbUrl":1002,"material":119,"size":120,"collection":121,"collections":1003,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":51},240674,"wu-yan-lian-huang-yi-240674",[599,60,61,26,7,43,45,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e73b821180e1431802b5b6da2867c.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":18,"author":1008,"museum":109,"description":1009,"tags":1010,"thumbUrl":1011,"material":119,"size":120,"collection":121,"collections":1012,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":51},240599,"hong-liang-ji-zhuan-shu-qi-yan-lian-hong-liang-ji-240599","洪亮吉篆书七言联","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[26,25,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dea7426ea89fdfc3852cdfbd0e728f7.jpg",[],{"id":1014,"slug":1015,"title":283,"dynasty":18,"author":434,"museum":109,"description":679,"tags":1016,"thumbUrl":1018,"material":119,"size":120,"collection":121,"collections":1019,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":51},240507,"qi-yan-lian-huang-yi-240507",[26,7,43,27,133,44,1017,289],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb61eb2deb1fe816dc385f1fcfafea2.jpg",[],{"id":1021,"slug":1022,"title":283,"dynasty":18,"author":1023,"museum":109,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，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” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[26,61,7,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f1e89d7e8c5322e306e0efd9739443.jpg",[],{"id":1081,"slug":1082,"title":317,"dynasty":56,"author":1083,"museum":109,"description":1084,"tags":1085,"thumbUrl":1087,"material":119,"size":120,"collection":121,"collections":1088,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":51},240632,"wu-yan-lian-mi-wan-zhong-240632","米万钟","米万钟（1570—1628年），字仲诏，号友石，又号海淀渔长、石隐庵居士，原籍陕西安化，后当锦衣卫，居北京，米芾后裔。明万历二十三年（1595年）进士，后任江西按察使。天启五年（1625年）被魏忠贤党人倪文焕弹劾，降罪削籍。崇祯元年（1628年）复官，仕至太仆少卿，卒于官。有好石之癖，又能画石。善画山水、花竹。书法行、草得家法，与董其昌齐名，称“南董北米”。书迹流传甚多。著《篆隶考讹》二卷。",[1086,26,7,232,45,27],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eaa35b0cca6278d55461150c45c4fb.jpg",[],{"id":1090,"slug":1091,"title":926,"dynasty":18,"author":778,"museum":109,"description":779,"tags":1092,"thumbUrl":1093,"material":119,"size":120,"collection":121,"collections":1094,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":51},240498,"ba-yan-lian-weng-fang-gang-240498",[26,62,7,44,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4f4e50726a7c3c50215f4006c689b9.jpg",[],{"id":1096,"slug":1097,"title":283,"dynasty":18,"author":1098,"museum":109,"description":1099,"tags":1100,"thumbUrl":1101,"material":119,"size":120,"collection":121,"collections":1102,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":51},240136,"qi-yan-lian-yang-shou-jing-240136","杨守敬","杨守敬（1839年6月2日—1915年1月9日），湖北省宜都市陆城镇人，谱名开科，榜名恺，更名守敬，晚年自号邻苏老人。清末民初杰出的历史地理学家、金石文字学家、目录版本学家、书法艺术家、泉币学家、藏书家 。\n杨守敬一生勤奋治学，博闻强记，以长于考证著名于世，是一位集舆地、金石、书法、泉币、藏书以及碑版目录学之大成于一身的大学者。他一生著述达83种之多，被誉为“晚清民初学者第一人”，代表作《水经注疏》，是郦学史上的一座丰碑。",[18,26,7,62,27,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0e6b56425898b0b69723491e90022ec.jpg",[],{"id":1104,"slug":1105,"title":283,"dynasty":18,"author":1106,"museum":109,"description":1107,"tags":1108,"thumbUrl":1109,"material":119,"size":120,"collection":121,"collections":1110,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":51},230170,"qi-yan-lian-qian-da-xin-230170","钱大昕","钱大昕（1728年2月16日—1804年11月2日），字晓征，又字及之，号辛楣，晚年自署竹汀居士，江苏太仓州嘉定县望仙桥河东宅（今属上海市嘉定区望新乡）人。清代史学家、文学家、教育家，乾嘉学派代表人物。\n钱大昕早年以诗赋闻名江南。乾隆十六年（1751年），因向乾隆帝献赋被提督学政庄有恭选为一等。后在召试中被评为一等，特赐举人，授内阁中书学习行走。乾隆十九年（1754年）三月，中进士，经御试后改翰林院庶吉士。其后历任翰林院编修、右春坊右赞善、武英殿纂修官、功臣馆纂修官、詹事府少詹事，提督广东学政。期间还出任过会试同考官及山东、湖南、浙江、河南等地乡试考官。乾隆四十年（1775年），因父丧归里，从此引疾不仕。归田三十年，潜心著述课徒，历主钟山、娄东、紫阳书院讲席，出其门下之士多至二千余人。嘉庆九年（1804年），于苏州紫阳书院逝世，享年七十七岁。\n钱大昕是18世纪中国渊博和专精的学术大师，其学以“实事求是”为宗旨，其治学范围广博精深，在史学、经学、小学、算学、校勘学及金石学等学术领域，均有建树和创见。有《十驾斋养新录》，后世以之与顾炎武《日知录》并称。一生著述甚富，后世辑为《潜研堂丛书》刊行。",[23,26,7,43,27,24,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c457324796599d08ababe49b4afe0.jpg",[],{"id":1112,"slug":1113,"title":1114,"dynasty":18,"author":1115,"museum":109,"description":1116,"tags":1117,"thumbUrl":1118,"material":119,"size":120,"collection":121,"collections":1119,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":51},230134,"shi-san-yan-lian-li-zhou-liang-qi-chao-230134","十三言联立轴","梁启超","梁启超（1873年2月23日—1929年1月19日），字卓如，一字任甫，号任公，又号饮冰室主人、饮冰子、哀时客、中国之新民、自由斋主人。广东省广州府新会县熊子乡茶坑村（今广东省江门市新会区茶坑村）人 。清朝光绪年间举人，中国近代思想家、政治家、教育家、史学家、文学家，戊戌变法（百日维新）领袖之一、中国近代维新派、新法家代表人物。 幼年时从师学习，八岁学为文，九岁能缀千言，17岁中举。后从师于康有为，成为资产阶级改良派的宣传家。维新变法前，与康有为一起联合各省举人发动“公车上书”运动，此后先后领导北京和上海的强学会，又与黄遵宪一起办《时务报》，任长沙时务学堂的主讲，并著《变法通议》为变法做宣传。\n戊戌变法失败后，与康有为一起流亡日本，政治思想上逐渐走向保守，但是他是近代文学革命运动的理论倡导者。逃亡日本后，梁启超在《饮冰室合集》《夏威夷游记》中继续推广“诗界革命”，批判了以往那种诗中运用新名词以表新意的做法。在海外推动君主立宪。辛亥革命之后一度入袁世凯政府，担任司法总长；之后对袁世凯称帝、张勋复辟等严词抨击，并加入段祺瑞政府。他倡导新文化运动，支持五四运动。其著作合编为《饮冰室合集》。\n1929年1月19日，梁启超在北京协和医院溘然长逝，终年56岁。",[23,27,7,88,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e92f93c345b48bf61faaa5832e75db.jpg",[],{"id":1121,"slug":1122,"title":1123,"dynasty":18,"author":108,"museum":109,"description":1124,"tags":1125,"thumbUrl":1127,"material":119,"size":120,"collection":121,"collections":1128,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":190},273655,"zi-tan-mu-bian-qian-long-shu-zi-hong-wu-hua-shan-shui-tu-wei-ping-yi-ming-273655","紫檀木边乾隆书字弘旿画山水图围屏","此围屏以紫檀为框架，牙板嵌黄杨木雕竹枝，秀雅古拙。六幅山水连为长卷，取元人浅绛山水笔法，峰峦层叠、林木苍润，村居隐于溪山烟岚间，皴擦细腻，设色清和，铺展出幽寂旷远的林泉雅境。\n\n两侧行书联句笔致舒展，与山水意境相得益彰，文心画意浑然相融。整器融木雕工艺、书法与绘事于一体，既是厅堂陈设重器，尽显清时文雅审美，工艺与意趣兼备，藏着旧时世家厅堂的悠然气韵。",[60,61,450,466,26,425,287,7,133,1126,413,472],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb150c1426bb61866167d7563d01b8e5.jpg",[],3,{"id":1131,"slug":1132,"title":926,"dynasty":18,"author":434,"museum":109,"description":679,"tags":1133,"thumbUrl":1134,"material":119,"size":120,"collection":121,"collections":1135,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":190},240637,"ba-yan-lian-huang-yi-240637",[26,43,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88328ff8105cdbf1507e34d9841c5560.jpg",[],{"id":1137,"slug":1138,"title":926,"dynasty":18,"author":1098,"museum":109,"description":1099,"tags":1139,"thumbUrl":1140,"material":119,"size":120,"collection":121,"collections":1141,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":190},240141,"ba-yan-lian-yang-shou-jing-240141",[26,62,7,27,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d5eab5b241e3d2f69355ad49149b0a.jpg",[],{"id":1143,"slug":1144,"title":283,"dynasty":18,"author":1145,"museum":109,"description":1146,"tags":1147,"thumbUrl":1148,"material":119,"size":120,"collection":121,"collections":1149,"showCount":1129,"zanCount":11,"manualWeight":11,"mainColor":51},240013,"qi-yan-lian-yang-xian-240013","杨岘","杨岘（1819-1896），字庸斋、见山，号季仇，晚号藐翁，自署迟鸿残叟，浙江归安（今湖州）人，清朝书法家、金石学家、诗人。",[26,7,43,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44c1ff69e1f8a17e4b27a5785f73317.jpg",[],{"id":1151,"slug":1152,"title":17,"dynasty":18,"author":864,"museum":109,"description":1153,"tags":1154,"thumbUrl":1155,"material":119,"size":120,"collection":121,"collections":1156,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":51},241273,"zhuan-shu-ba-yan-lian-sun-xing-yan-241273","孙星衍（1753年－1818年），字伯渊，一字渊如，号季述。江蘇陽湖縣（今屬江苏省常州市）人，祖籍安徽濠州，清代经史学家，考据学者，金石学家。",[61,26,25,7,44,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793b4286dbecccb6918be3b4d5c407e6.jpg",[],{"id":1158,"slug":1159,"title":1160,"dynasty":18,"author":1161,"museum":109,"description":1162,"tags":1163,"thumbUrl":1164,"material":119,"size":120,"collection":121,"collections":1165,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":190},240796,"zhang-ting-ji-qi-yan-lian-zhang-ting-ji-240796","张廷济七言联","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[26,7,43,62,45,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc66ac6105b8b6c83a4b8dc674cea09.jpg",[],{"id":1167,"slug":1168,"title":317,"dynasty":56,"author":1169,"museum":109,"description":1170,"tags":1171,"thumbUrl":1172,"material":119,"size":120,"collection":121,"collections":1173,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":51},240676,"wu-yan-lian-zhu-shi-lu-240676","祝世禄","祝世禄[明]（公元一六0二年前后在世），字世功，江西德兴人。生卒年均不详，约明神宗万历三十年前后在世。第万历十七年（公元一五八九年）进士，考选为南科给事。",[26,61,7,62,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aabfc27ba0331d53307059916adafa.jpg",[],{"id":1175,"slug":1176,"title":543,"dynasty":18,"author":1161,"museum":109,"description":1162,"tags":1177,"thumbUrl":1178,"material":119,"size":120,"collection":121,"collections":1179,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":51},240500,"zhuan-shu-qi-yan-lian-zhang-ting-ji-240500",[26,25,7,24,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1825e0347c2c2cc317bd3507e8133d.jpg",[],{"id":1181,"slug":1182,"title":283,"dynasty":18,"author":1183,"museum":109,"description":1184,"tags":1185,"thumbUrl":1186,"material":119,"size":120,"collection":121,"collections":1187,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":51},240180,"qi-yan-lian-yi-nian-ceng-240180","伊念曾","字少沂，号梅石，福建宁化人，秉绶子。",[26,7,27,25,43,45,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feafb2299bbe17483fdd98c99ba58c485.jpg",[],{"id":1189,"slug":1190,"title":283,"dynasty":18,"author":1191,"museum":109,"description":1192,"tags":1193,"thumbUr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，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人。",[26,7,62,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe320d610d682f2200473b26e6d124b92.jpg",[],{"id":1235,"slug":1236,"title":283,"dynasty":18,"author":1106,"museum":109,"description":1107,"tags":1237,"thumbUrl":1238,"material":119,"size":120,"collection":121,"collections":1239,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":51},240164,"qi-yan-lian-qian-da-xin-240164",[24,26,7,43,44,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f7daae3454056f43160f26d420c004.jpg",[],{"id":1241,"slug":1242,"title":1243,"dynasty":18,"author":1244,"museum":109,"description":1245,"tags":1246,"thumbUrl":1247,"material":119,"size":120,"collection":121,"collections":1248,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":51},224154,"shu-lian-zhou-zhang-zhao-224154","书联轴","张照","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 《山川诸奇帖》为《十七帖》中的一札，又称《游目帖》。本幅书于洒金笺，并以泥金界线。结字多参杂己意，章法则吸收了元人以降放大、直幅临书的表现手法。虽自称临书，然已与原帖面貌大相径庭，显示出书法艺术与时代发展密不可分的关系。",[599,60,61,26,7,27,62,133,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8d3f54ddc1371e9d60a82d491f2952.jpg",[],{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":108,"museum":109,"description":1253,"tags":1254,"thumbUrl":1255,"material":119,"size":120,"collection":121,"collections":1256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},242441,"zhong-ke-chun-hua-ge-tie-yi-ming-242441","重刻淳化阁帖","清拓《钦定重刻淳化阁帖》原本《淳化阁帖》。十卷又称《淳化秘阁法帖》、（阁贴》。系宋淳化三年（992年）太宗岀内府所藏历代古帖，命翰林侍书王著摹勒而成，共收录汉魏至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 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。",[26,62,1214,44,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b26dca7f867691cf832cc40fd744e55.jpg",[],{"id":1258,"slug":1259,"title":1252,"dynasty":18,"author":108,"museum":109,"description":1253,"tags":1260,"thumbUrl":1261,"material":119,"size":120,"collection":121,"collections":1262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},242439,"zhong-ke-chun-hua-ge-tie-yi-ming-242439",[26,62,44,1214,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8a1723e3b1b606a6d19f37025d7032.jpg",[],{"id":1264,"slug":1265,"title":1266,"dynasty":18,"author":108,"museum":109,"description":1267,"tags":1268,"thumbUrl":1270,"material":119,"size":120,"collection":121,"collections":1271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},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。",[1214,26,88,821,1269,418,210,7],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288eb5a62ad6df91049978217926a59.jpg",[],{"id":1273,"slug":1274,"title":1275,"dynasty":56,"author":108,"museum":109,"description":1276,"tags":1277,"thumbUrl":1278,"material":119,"size":120,"collection":121,"collections":1279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},242283,"wan-xiang-tang-su-shu-tie-yi-ming-242283","晚香堂苏书帖","此作用墨底金字装裱，古雅沉静。书风兼融行书舒展与小草简省，行气匀停疏朗，字间映带自然。提按顿挫富于节律，点画灵动爽利，如“羈、忘”诸字，草意盎然却不失法度。\n所书诗文清雅淡远，笔墨与文辞相得益彰，尽显幽居林壑、寄情山水的文人意趣。整体意韵萧散简远，妍美流便中带着沉静古雅气质，将书写的抒情性与诗文意境相融，是兼具审美价值与文心雅趣的佳构。",[26,62,1214,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f73e920f006e63c9ca3723c1c4007.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":18,"author":1284,"museum":109,"description":1285,"tags":1286,"thumbUrl":1287,"material":119,"size":120,"collection":121,"collections":1288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},240014,"xing-qi-yan-lian-qi-jun-zao-240014","行七言联","祁寯藻","祁隽藻(1793～1866) 近代诗人书法家。字叔颖，一字淳甫，避讳改实甫，号春圃。山西寿阳人。清嘉庆十九年(1814)进士，由庶吉士授编修，累官至体仁",[60,61,27,7,62,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa064d56d8a829dfe74ae31ea43f6e9b0.jpg",[],1777535703209]