[{"data":1,"prerenderedAt":160},["ShallowReactive",2],{"subject-jing-juan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1211,"jing-juan","经卷","经卷画高清赏析","精选中国历代经卷题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039d354b2ea276209f30dd046023ba28.jpg",0,7,[14,46,74,91,116,129,145],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","元","赵孟頫","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7],"高清","书法","行书","墨迹","笔法圆润","结体秀逸","山","水","龙","仙","琴","丝竹","苔痕","草色","帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纸本","纵49厘米、横131厘米","书法精选",[41],156,4,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":67,"material":68,"size":69,"collection":70,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},290746,"guan-yin-da-shi-zhou-yi-ming-290746","观音大士轴","佚名","藏地不详","在《西游记》中，观音菩萨扮演重要的角色，具有结构上的特殊作用。从参与收伏孙悟空，到寻访取经人，或设障碍以试禅心，或收妖魔以助西行，贯穿全书。小说中第二十四回至二十六回，孙悟空因偷吃了镇元仙的人参果，更推倒果树而脱身不得，卒赖观音以净瓶中的杨枝甘露救活了果树，始摆脱麻烦。",[54,55,56,57,58,59,60,61,62,63,64,65,7,66],"国画","立轴","宗教","人物","设色","工笔","佛教","观音","童子","莲花","飞鸟","祥云","净瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ba04495b5b52afe1b9c0bff4c2eb82f.jpg","未知","Xcm*Xcm","",[],10,"795548",{"id":75,"slug":76,"title":77,"dynasty":78,"author":50,"museum":51,"description":79,"tags":80,"thumbUrl":88,"material":70,"size":70,"collection":70,"collections":89,"showCount":72,"zanCount":90,"manualWeight":11,"mainColor":45},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","唐","因本卷曾收藏于琵琶湖上竹生岛之宝严寺，故称为「竹生岛经」。原本应抄录了魏晋南北朝僧人兼翻译家、鸠摩罗什（344－413）所译《法华经》八卷之全文，但目前仅存卷第一中的〈方便品〉一卷，即本件，以及现仍由宝严寺收藏的经摺装〈序品〉一册。\n本卷采用以金、银泥描画蝴蝶、禽鸟、宝相华、花草、祥云等纹样的上等纸张，其上施以金泥行界，每纸二十八行，书写之笔致沉稳而工整，是极为优美的装饰经（指具有装饰性目的之写经，纸张染色并描绘各种纹饰，施加金银粉或细箔）。现存的〈方便品〉及〈序品〉上，都有松花堂昭乘（1584－1639）的题跋，松花堂昭乘与本阿弥光悦、近卫信尹等宽永年间三大名书家，同誉为「宽永三笔」。跋文中虽提及此卷出自源俊房（1035－1121）之笔，但并无确凿有力之证据。",[23,81,82,83,39,56,24,84,85,86,87,7],"唐代","写经","楷书","古籍","手写","经文","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],1,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":112,"material":113,"size":114,"collection":70,"collections":115,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":45},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5","清","丁观鹏","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,59,58,100,56,101,57,63,65,102,103,104,105,106,107,108,109,110,7,111],"长卷","白描","树木","流水","动物","佛造像","菩萨","罗汉","护法神","亭台","法器","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg","纸本，设色","纵33厘米、横1635厘米",[],{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":51,"description":122,"tags":123,"thumbUrl":127,"material":68,"size":69,"collection":70,"collections":128,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":73},283603,"xin-ke-guan-ban-zhou-yi-ben-yi-si-juan-zhu-xi-283603","新刻官板周易本义四卷","宋","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。",[124,125,83,24,126,84,7],"典籍","木刻","周易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2601498c6748e2f614e477e941ebe42.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":95,"author":133,"museum":51,"description":134,"tags":135,"thumbUrl":141,"material":142,"size":70,"collection":70,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":45},217203,"fa-jie-yuan-liu-tu-juan-3-li-ming-217203","法界源流图卷-3","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,54,100,56,59,58,57,65,136,137,110,106,138,139,140,7],"宝幢","佛塔","天人","衣帽","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f04683f1e9c67cfcb190a054c5289f.jpg","纸本,设色",[],5,{"id":146,"slug":147,"title":148,"dynasty":149,"author":50,"museum":51,"description":150,"tags":151,"thumbUrl":157,"material":68,"size":69,"collection":70,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":73},290707,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-shou-gao-yi-ming-290707","佛说阎罗王授记四众预修生七往生净土经手稿","不详","此作为写经与彩绘合璧的珍品，经文书法朴拙厚重，笔意带着写经者的虔诚肃穆，墨色沉凝安稳，尽显中古写经的典型风貌。\n\n彩绘部分章法分明，佛尊造像面相圆融端雅，衣纹舒展流畅，气韵沉静庄严；供养人像衣冠古雅写实，带着鲜活的世俗人文气息。\n\n泛黄纸色晕开经年沉淀的厚重感，朱红、石青的古旧配色愈发古朴沉静，图文排布疏密得当，将宗教的肃穆性与世俗意趣交织一处，晕开浓郁的信仰温度，是宗教美术与写经艺术融合的上乘之作。",[100,54,82,24,56,60,58,152,57,153,106,154,155,156,7],"彩绘","佛","阎罗王","敦煌","佛经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289568264595735d6da590ac40d0c17d.jpg",[],2,1777535742402]