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[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）。",[77,25,24,90,7,191,192],"石经","大学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73b17f4786dd29b0985c357c34e6b13.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":57,"author":19,"museum":39,"description":199,"tags":200,"thumbUrl":202,"material":64,"size":65,"collection":49,"collections":203,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":67},290643,"ti-ming-wei-lu-ru-shou-gao-yi-ming-290643","题名未录入手稿","纸色泛黄斑驳，浸透着时光的痕迹，小楷字迹清劲端雅，排布齐整肃穆。笔势舒展连贯，点画凝练朴厚，既有严谨法度，又带着书写者自然的笔意流转，尽显虔敬的抄经本心。留存的朱印为古卷晕开一抹鲜亮余韵，与旧纸的沉色相衬，更添古雅。残卷虽有缺损，却不减沉静质感，每一道纸痕都是时光的注脚，静静诉说着过往抄录时的专注与信仰，将千年前的沉静气韵凝于卷上，尽显写本古籍独有的历史温度。",[23,24,62,154,153,26,25,7,201],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e17886411921161c94f1fad1384d42.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":57,"author":19,"museum":208,"description":209,"tags":210,"thumbUrl":213,"material":64,"size":65,"collection":49,"collections":214,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":34},287623,"miao-fa-lian-hua-jing-juan-di-er-shou-gao-yi-ming-287623","妙法蓮華經卷第二手稿","大英博物馆","这件写经以小楷抄就，笔锋温润秀雅，起收含蓄内敛，行笔匀净稳健。字字排布齐整却不失灵动，全篇长篇经文行气舒展贯通，不见懈怠。墨色匀净莹润，历经年岁依旧黑亮澄澈，与泛黄纸面相衬，古意盎然。\n\n抄经人落笔恭谨克制，将宗教虔诚融于笔墨，尽显写经书法端雅平和的特质，让沉静内敛的禅意浸透全篇，是书法艺术与佛教典籍融合的典范之作。",[24,23,62,25,153,26,7,211,212],"手写稿","宗教典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb99384a1eee67eba37e36527bc929635.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":99,"author":219,"museum":39,"description":220,"tags":221,"thumbUrl":223,"material":64,"size":65,"collection":49,"collections":224,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":34},283606,"er-ru-ting-qun-fang-pu-er-shi-ba-juan-wang-xiang-jin-283606","二如亭群芳谱二十八卷","王象晋","王象晋（1561年－1653年），字荩臣，一字子进，又字康候，号康宇，山东新城县（今桓台县）人，明末政治人物。",[77,90,25,222,7],"线装书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd342daaae906d6561d50e243cc263298.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":57,"author":19,"museum":39,"description":229,"tags":230,"thumbUrl":231,"material":64,"size":65,"collection":49,"collections":232,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":67},230822,"deng-mu-pu-sa-jing-zhong-juan-ji-bei-you-li-yuan-jing-yi-ming-230822","等目菩萨经中卷-吉备由利愿经","通篇以行书抄录经文，笔锋温润舒展，起收间尽显古朴拙雅。点画敦实厚重，牵丝映带自然流畅，虽为抄经却不见仓促，字里行间漫着沉静禅意。布局匀整肃穆，字距行距排布齐整，墨色浓郁沉稳，纸面因岁月经年泛黄斑驳，晕开旧时光的厚重质感。抄录一丝不苟，笔势暗含静定之力，将佛家平和内蕴融于笔墨，尽显抄经时的虔诚心境，兼具书法审美与佛学文献的双重价值。",[62,23,25,24,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b99be51b9d5e889badb043fd2ef1bb.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":99,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":241,"material":242,"size":243,"collection":49,"collections":244,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":245},222278,"nan-hua-zhen-jing-31-wang-chong-222278","南华真经31","王宠","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[42,24,74,23,104,28,61,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff13fcc34deb6f67f088371a4516f69dc.jpg","白纸本","每开尺寸长19.1、宽12.5厘米",[],"FDD835",{"id":247,"slug":248,"title":249,"dynasty":57,"author":19,"museum":39,"description":250,"tags":251,"thumbUrl":252,"material":64,"size":65,"collection":49,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},289863,"dun-huang-yi-shu-379-yi-ming-289863","敦煌遗书379","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 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。",[58,23,24,25,62,44,77,201,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194d02e4c2c903afc9b55ce88bf6ddd6.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":57,"author":19,"museum":39,"description":250,"tags":258,"thumbUrl":262,"material":64,"size":65,"collection":49,"collections":263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},289857,"dun-huang-yi-shu-373-yi-ming-289857","敦煌遗书373",[58,24,23,62,44,259,45,7,260,261],"佛经","文书","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae794dee1407e815d66d638890cb6ec.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":57,"author":19,"museum":39,"description":250,"tags":268,"thumbUrl":269,"material":64,"size":65,"collection":49,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},289636,"dun-huang-yi-shu-285-yi-ming-289636","敦煌遗书285",[58,62,24,23,44,153,25,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6320ff66dee010540fef297cd8d278.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":57,"author":19,"museum":39,"description":250,"tags":275,"thumbUrl":276,"material":64,"size":65,"collection":49,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},289616,"dun-huang-yi-shu-265-yi-ming-289616","敦煌遗书265",[58,24,23,62,261,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3e6b0da342bdbc3e51655736d53c5d.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":57,"author":19,"museum":39,"description":250,"tags":282,"thumbUrl":284,"material":64,"size":65,"collection":49,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},289604,"dun-huang-yi-shu-257-yi-ming-289604","敦煌遗书257",[62,24,23,58,25,212,7,283],"毛笔书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08856b34a2de5607fc76e0ca1decec6.jpg",[],{"id":287,"slug":288,"title":289,"dynasty":57,"author":19,"museum":39,"description":250,"tags":290,"thumbUrl":291,"material":64,"size":65,"collection":49,"collections":292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},287801,"dun-huang-yi-shu-164-yi-ming-287801","敦煌遗书164",[24,23,62,58,77,25,44,7,201,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a16fd1f287153c442eae5b753b3e46.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":99,"author":297,"museum":39,"description":298,"tags":299,"thumbUrl":301,"material":64,"size":65,"collection":49,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},283611,"tang-shi-ji-yi-bai-qi-shi-juan-wu-guan-283611","唐诗纪一百七十卷","吴琯","吴琯(公元1546年出生，卒年不详) 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