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的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[23,18,24,25,26,27,28,29,7,30,31],"高清","书法","书画","行书","印章","墨迹","纸本","笔墨","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm","",[],28,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":43,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":51,"material":52,"size":53,"collection":54,"collections":55,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":38},239673,"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","元","鲜于枢","北京故宫博物院","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[23,24,26,48,27,28,7,49,50],"长卷","诗词","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纸本，行书","纵32厘米，横342厘米","书法精选",[54],20,2,{"id":59,"slug":60,"title":61,"dynasty":62,"author":63,"museum":64,"description":65,"tags":66,"thumbUrl":73,"material":35,"size":35,"collection":54,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},239682,"wu-kuan-huang-chao-qi-yi-ji-can-ye-yi-ming-239682","无款黄巢起义记残页","唐","佚名","藏地不详","黄巢起义，指的是乾符五年（878年）至中和四年（884年）由黄巢领导的民变，是王仙芝起义的后续。也是唐末民变中，历时最久，遍及最大，影响最深远的一场农民起义。黄巢之乱转战近半唐朝江山，导致唐末国力大衰。\n黄巢起义，采用流动作战的方式，避实攻虚，走遍今天山东、河南、安徽、浙江、江西、福建、广东、广西、湖南、湖北、陕西等省广大地区，动摇了唐朝的统治。但由于长期流动作战，没有稳定的后方，缺乏经济上的保障和群众基础，故而很难持久下去，使起义军最后失败。",[67,24,26,28,68,69,70,7,71,72],"唐代","残页","典籍","手写","古籍","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[54],8,"795548",{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":88,"material":29,"size":89,"collection":35,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":38},221945,"qi-lv-shi-jiang-cheng-qiu-se-wen-zheng-ming-221945","七律诗江城秋色","明","文徴明","上海博物馆","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,26,86,72,87,7,49],"立轴","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a91d53d4f49e7a339785a9df6b505d7.jpg","122x59cm",[],7,{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":64,"description":98,"tags":99,"thumbUrl":104,"material":105,"size":106,"collection":35,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":38},240698,"zhuan-shu-bi-lang-gan-guan-heng-hong-liang-ji-240698","篆书碧琅玕馆横","清","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。",[100,101,24,27,72,7,102,103],"清代","篆书","篆刻","横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2264c912a2edff6ffced1add31d16754.jpg","未知","Xcm*Xcm",[],5,{"id":110,"slug":111,"title":112,"dynasty":81,"author":113,"museum":45,"description":114,"tags":115,"thumbUrl":117,"material":52,"size":118,"collection":54,"collections":119,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":38},240666,"qi-lv-shou-li-an-shi-zhou-zhu-yun-ming-240666","七律寿砺庵诗轴","祝允明","释文：\n西山青拥午桥庄，南纪星辉砺石堂。百岁光仪高里社，四朝声望播岩廊。须知洞里陶弘景，即是关中张子房。看取丹丘非浪语，朱颜漆鬓碧瞳方。\n中丞砺庵老先生癸未孟秋初辰，谢元和索诗奉寿，公之道谢之情，皆媿未尽形容，唯庶几祝愿之果尔。后生祝允明顿首。\n此幅是祝允明64岁时的作品，是应谢元和之请为毛珵（号砺庵）所书的贺寿诗轴。作品参学米芾笔法，兼有生拙之态，别具风格。",[24,26,86,116,7,49],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7abd110e3158ef144192f5794759163.jpg","纵145厘米，横61厘米",[54],{"id":121,"slug":122,"title":123,"dynasty":96,"author":124,"museum":64,"description":125,"tags":126,"thumbUrl":131,"material":105,"size":106,"collection":35,"collections":132,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":38},239688,"deng-shi-ru-cang-hai-ri-zhang-lian-deng-shi-ru-239688","邓石如沧海日长联","邓石如","邓石如 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,26,116,163,164,30,7],"册","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdad5039303cda5137df8bfb672b86a.jpg",[],3,{"id":169,"slug":170,"title":171,"dynasty":96,"author":172,"museum":64,"description":173,"tags":174,"thumbUrl":175,"material":105,"size":106,"collection":35,"collections":176,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":38},241437,"zhi-gong-ci-shuo-wen-yi-zi-gai-heng-wang-ding-241437","致公朿说文佚字改横","王鼎","王鼎（1768年－1842年），字定九，號省厓，陝西同州府蒲城縣（今陕西省渭南市蒲城县）人，清朝大臣。",[23,24,25,26,48,29,28,129,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb756aa44ee4d4d2f2110c0a5d6a9102a.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":96,"author":181,"museum":64,"description":182,"tags":183,"thumbUrl":186,"material":105,"size":106,"collection":35,"collections":187,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":38},241374,"ti-san-xia-pin-quan-zhou-wang-ying-quan-241374","题三峡品泉轴","汪应铨","汪应铨，[清]字杜林，号梅林，江苏常熟人。康熙五十七年（一七一八）状元，官赞善。工小楷。《昭代尺牍小传、瓯钵罗室书画过目考》 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