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法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[52,83,51,28,54,86,59,90,87,7,102],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg","未知","Xcm*Xcm",[],3,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":80,"description":114,"tags":115,"thumbUrl":118,"material":104,"size":105,"collection":39,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","明","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[25,26,83,51,52,28,116,67,7,62,117],"山水","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],2,"795548",{"id":123,"slug":124,"title":125,"dynasty":18,"author":126,"museum":20,"description":127,"tags":128,"thumbUrl":130,"material":131,"size":39,"collection":39,"collections":132,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":42},234742,"huang-shan-tu-ce-jiang-zhu-234742","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[25,26,30,28,29,51,52,116,7,129],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc603bcfea893b3e6f93c3ec7fd3238c1.jpg","纸本，设色",[],{"id":134,"slug":135,"title":136,"dynasty":18,"author":137,"museum":80,"description":138,"tags":139,"thumbUrl":143,"material":39,"size":39,"collection":39,"collections":144,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":145},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","王时敏","此作为行书小品，笔墨秀逸苍劲，起收间可见沉稳功底，点画顾盼有情，线条随章法灵动变奏，粗细提按尽显节奏韵律。字间疏密得宜，行气贯通浑然，兼具妍雅意趣与朴拙质感。\n书文为寻幽佳句，笔墨与诗意相融，将林泉雅趣藏于笔底。素纸古色衬出墨色浓淡层次，朱红钤印点缀晕染出沉静古雅的文人书卷氛围，笔墨舒缓的节奏里，恰似把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,25,26,30,51,52,28,64,140,141,7,142],"涧","树","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],"F48FB1",{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":20,"description":151,"tags":152,"thumbUrl":160,"material":39,"size":39,"collection":39,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":42},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[52,51,54,55,69,153,7,140,154,155,89,68,62,156,157,66,158,159],"藤","寺","亭","林","泉","谷","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],1,{"id":164,"slug":165,"title":125,"dynasty":18,"author":166,"museum":20,"description":167,"tags":168,"thumbUrl":170,"material":131,"size":171,"collection":39,"collections":172,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":42},233438,"huang-shan-tu-ce-mei-qing-233438","梅清","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[25,28,169,116,31,67,7,129,54,30,29],"设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd50f9bb50f598e131c06a4c2f36415c.jpg","纵26厘米，横33厘米",[],{"id":174,"slug":175,"title":176,"dynasty":112,"author":177,"museum":80,"description":178,"tags":179,"thumbUrl":183,"material":39,"size":39,"collection":39,"collections":184,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":42},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","萧云从 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这一时期，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中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[192,193,194,7,195],"玉石","雕刻","器","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab872573cf8d9604aa50bfb1590a1ba.jpg",[],"37474F",{"id":200,"slug":201,"title":202,"dynasty":18,"author":189,"museum":80,"description":203,"tags":204,"thumbUrl":207,"material":208,"size":39,"collection":39,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},215610,"tian-xia-ming-shan-tu-16-yi-ming-215610","天下名山图-16","这幅山水图以细腻墨线勾勒山峦脉络，皴法交错间尽显山石嶙峋肌理。层峦叠嶂如浪涛翻涌，远近错落间营造出深远空间感。山间亭台掩映于松荫之下，古木虬枝添几分苍劲。题款错落分布于峰峦幽谷，笔墨与山川相映成趣，隐现文人寄情山水的雅致。整体画风清逸，意境幽远，既展现自然山川的雄浑之美，又蕴含人文意趣的温润质感，似可窥见古人对名山胜景的向往与描摹。",[25,26,205,116,31,7,33,182,206],"白描","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22efdb52057a6e8e11ec555f4ef41ebb.jpg","纸本,水墨",[],1777535730438]