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素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[23,24,81,7,26,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[50],473,9,{"id":124,"slug":125,"title":92,"dynasty":59,"author":60,"museum":126,"description":127,"tags":128,"thumbUrl":134,"material":135,"size":136,"collection":30,"collections":137,"showCount":138,"zanCount":139,"manualWeight":11,"mainColor":54},288330,"rui-he-tu-zhao-ji-288330","藏地不详","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,129,96,44,81,97,99,100,130,101,131,132,7,63,24,133],"名画","仙鹤","祥云","宫殿","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg","未知","Xcm*Xcm",[],362,5,{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":41,"description":144,"tags":145,"thumbUrl":146,"material":68,"size":147,"collection":50,"collections":148,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":34},214423,"da-tang-zhong-xing-song-shang-ce-yan-zhen-qing-214423","大唐中兴颂上册","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第一卷。",[24,7,25,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d0b8cf62ec43954df79bc727074ca7.jpg","29.3x15.5",[50],327,1,{"id":152,"slug":153,"title":154,"dynasty":155,"author":156,"museum":157,"description":158,"tags":159,"thumbUrl":169,"material":170,"size":171,"collection":172,"collections":173,"showCount":174,"zanCount":175,"manualWeight":11,"mainColor":73},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","清","姚文瀚","台北故宫博物院","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[96,81,160,99,97,161,162,163,164,165,166,167,168,7],"临摹","人物","文人雅集","孩童","松","鹤","书房","文房四宝","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57554a37f077ed634f35ee35c88231b9.jpg","纸本,设色","46.8x196.1cm","人物画精选",[172],309,12,{"id":177,"slug":178,"title":179,"dynasty":180,"author":181,"museum":182,"description":183,"tags":184,"thumbUrl":186,"material":68,"size":187,"collection":50,"collections":188,"showCount":189,"zanCount":139,"manualWeight":11,"mainColor":73},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","晋","王羲之","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[23,24,7,26,81,68,66,83,185,160],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[50],274,{"id":191,"slug":192,"title":193,"dynasty":194,"author":195,"museum":157,"description":196,"tags":197,"thumbUrl":200,"material":48,"size":201,"collection":50,"collections":202,"showCount":203,"zanCount":204,"manualWeight":11,"mainColor":73},214381,"zui-weng-ting-ji-wen-zheng-ming-214381","醉翁亭记","明","文徵明","这是一本非常精美的欧阳修的小楷《醉翁亭记》，写于82岁，后面有一个长长的后记，解释了他用王羲之的风格做这个小楷的原因。是其传世小楷之极品，笔触有力、扎实、精致。",[7,80,24,26,66,198,199],"亭","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3961e4e010b11405c3cabb48ce358a18.jpg","28.6x53.5",[50],273,7,{"id":206,"slug":207,"title":208,"dynasty":39,"author":40,"museum":209,"description":210,"tags":211,"thumbUrl":213,"material":68,"size":214,"collection":50,"collections":215,"showCount":217,"zanCount":218,"manualWeight":11,"mainColor":73},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","日本京都国立博物馆","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[23,24,7,212,81],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[50,216],"碑帖精选",230,3,{"id":220,"slug":221,"title":222,"dynasty":39,"author":40,"museum":41,"description":42,"tags":223,"thumbUrl":224,"material":48,"size":49,"collection":30,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},214292,"xiao-kai-luo-shen-fu-ce-3-zhao-meng-fu-214292","小楷洛神赋册-3",[23,44,7,26,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5946eea434a0e97c747c9c1569b0c.jpg",[],227,{"id":228,"slug":229,"title":230,"dynasty":18,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":236,"material":237,"size":238,"collection":50,"collections":239,"showCount":240,"zanCount":241,"manualWeight":11,"mainColor":73},221077,"qian-zi-wen-he-juan-zhi-yong-221077","千字文合卷","智永","藏于日本民间","智永，僧法极，字智永，人称永禅师，智永善书，书有家法,还将王羲之作为传家之宝的《兰亭序》，带到云门寺保存，云门寺有书阁，智永禅师居阁上临书20年。《真书千字文》系智永的代表书作，历来对它评价颇高。对他所写的《千字文》，清何绍基说：“笔笔从空中来，从空中住，虽屋漏痕，犹不足以喻之”。我们细读他的墨迹《千字文》，看得出他用笔上藏头护尾，一波三折，含蓄而有韵律的意趣。董、何之说可谓精确、具体、恰当。\n智永对乃祖王羲之、王献之的书法极为钦佩，决心使乃祖的书法万古流芳。智永练习书法极为刻苦。他在永欣寺时，就曾盖一座小楼专供练字，发誓“书不成，不下此楼”。就在这座冷冷清清的小楼里，他如痴如醉地练字，毛笔用了一支又一支，他常把用坏了的毛笔扔进大瓮，天长日久，就积了好几瓮，后来埋在一起，成为“退笔冢”。\n经过二三十年的努力，智永的书法果然大有进步。他的名气也越来越大，求其真迹者很多，以至他户外之履常满，连门限也踩坏了，智永又只好用铁皮来加固门槛，时人称之为“铁门槛”。\n张怀瓘将古今善书法者分成三品：神品、妙品、能品。智永的行书入于能品，隶书、章草、草书皆入妙品。可见智永书法成就已达到相当高的水平。\n智永书法流传甚广，宋御府即曾收藏智永草书13件，真草10件。其《真草千字文》一直流传至今。\n《真草千字文》采用以楷书对释草书的方式，这是智永的创造，既便于学书者释读草字，又能让人同时欣赏他两种体裁的书法，可谓一举两得。智永禅师草书“千字文”，完全得笔于乃祖王右军，并师承了草字法规。",[23,24,7,235,81,185,26],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","纸本墨笔","原册每开纵24厘米，横11厘米",[50,216],226,2,{"id":243,"slug":244,"title":245,"dynasty":180,"author":246,"museum":41,"description":247,"tags":248,"thumbUrl":250,"material":80,"size":30,"collection":216,"collections":251,"showCount":252,"zanCount":218,"manualWeight":11,"mainColor":34},221015,"xuan-shi-biao-zhong-yao-221015","宣示表","钟繇","梁武帝萧衍誉道“势巧形密，胜于自运”。笔法质朴浑厚，雍容自然。王导东渡时将此表缝入衣带携走，后来传给逸少，逸少又将之传给王修，王修便带着它入土为安，从此不见天日。\n现在所能见到的《宣示表》只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。此帖风格直接影响了二王小楷面貌的形成 (从《黄庭经》、《乐毅论》，《洛神赋十三行》等就可看出)，进而影响到元、明、清三代的小楷创作，如赵孟頫、文徵明、王宠、黄道周等。更具历史意义的是，此帖所具备的点画法则、结体规律等影响和促进了楷书高峰——唐楷的到来。因此，钟繇《宣示表》可以说是楷书艺术的鼻祖。",[24,7,25,249,26,80],"碑帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55b96c8113998cb9b0e7129ca046fad.jpg",[216],201,{"id":254,"slug":255,"title":256,"dynasty":18,"author":257,"museum":258,"description":259,"tags":260,"thumbUrl":261,"material":262,"size":263,"collection":50,"collections":264,"showCount":265,"zanCount":150,"manualWeight":11,"mainColor":54},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","美国大都会艺术博物馆","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,24,7,83,26,81,44,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[50,216],186,{"id":267,"slug":268,"title":269,"dynasty":59,"author":60,"museum":157,"description":270,"tags":271,"thumbUrl":276,"material":277,"size":278,"collection":50,"collections":279,"showCount":280,"zanCount":218,"manualWeight":11,"mainColor":54},221342,"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[23,24,26,81,7,63,66,272,273,274,275],"牡丹","庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","绢本","纵27.2厘米，横265.9厘米",[50],171,{"id":282,"slug":283,"title":284,"dynasty":18,"author":285,"museum":41,"description":286,"tags":287,"thumbUrl":288,"material":48,"size":289,"collection":50,"collections":290,"showCount":291,"zanCount":150,"manualWeight":11,"mainColor":54},214512,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-214512","宋拓唐虞恭公温彦博碑","欧阳询","此卷名为《虞恭公温彦博碑》，由岑文本作，欧阳询撰文，唐代刻本，宋代拓本，是《蔼蔼高门》中 高 字的未损坏版本。精美的黑墨水地形图，经裁剪后装在小册子里。虞恭公温彦博碑，又称温彦博碑，立于唐贞观十一年（637年）十月，位于陕西省礼泉县。这块石碑是用纯文字书写的，共有36行77个字符。前言是四行16字的篆书。这块石碑是陕西礼泉昭陵太宗（李世民）墓的陪葬碑之一。\n这块石碑上的书法艺术具有极高的价值，被历代书法家所称道。王虚舟跋曰：“史称欧阳询卒于贞观间，年八十五岁，此碑书于贞观十一年，是率更最晚的作品。复四年，尚有小楷千文，计书此碑，亦已将八十矣。而圆秀膄劲，与《醴泉》、《化度》不殊，宜其特出有唐，为百代模楷也。",[23,24,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ed2ced78623c5d7dd690f27719b9d0.jpg","18.3x9.2",[50],168,{"id":293,"slug":294,"title":295,"dynasty":39,"author":40,"museum":41,"description":42,"tags":296,"thumbUrl":297,"material":48,"size":49,"collection":30,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":54},214291,"xiao-kai-luo-shen-fu-ce-2-zhao-meng-fu-214291","小楷洛神赋册-2",[23,44,24,7,80,45,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df43ff9eb6f3472d958c7858636f68.jpg",[],162,{"id":301,"slug":302,"title":303,"dynasty":39,"author":40,"museum":41,"description":304,"tags":305,"thumbUrl":306,"material":68,"size":307,"collection":50,"collections":308,"showCount":309,"zanCount":310,"manualWeight":11,"mainColor":73},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[23,24,83,7,81,46,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[50],159,4,{"id":312,"slug":313,"title":314,"dynasty":18,"author":285,"museum":126,"description":315,"tags":316,"thumbUrl":317,"material":135,"size":136,"collection":30,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":73},288064,"jiu-cheng-gong-li-quan-ming-ou-yang-xun-288064","九成宫醴泉铭","欧阳询（生卒年不详），字信本，潭州临湘县（今湖南长沙市）人。唐朝大臣、书法家。欧阳纥之子。\n隋炀帝即位，欧阳询出任太常博士。武德三年（620年），投靠夏王窦建德，授太常卿一职。武德五年（622年），归顺唐高祖李渊，授侍中，累迁银青光禄大夫、给事中、太子率更令、弘文馆学士，册封渤海县男，主持编撰《艺文类聚》。贞观初年去世，时年八十五岁。\n欧阳询精通书法，与虞世南、褚遂良、薛稷三位并称“初唐四大家”。因其子欧阳通善于书法，父子俩被合称为“大小欧”。书法于平正中见险绝，号为“欧体”。代表作：楷书有《九成宫醴泉铭》《皇甫诞碑》《化度寺碑》，行书有《仲尼梦奠帖》《行书千字文》。对书法有其独到的见解，有书法论著《八诀》《传授诀》《用笔论》《三十六法》。所写《化度寺邑禅师舍利塔铭》《虞恭公温彦博碑》《皇甫诞碑》被称为“唐人楷书第一”。",[7,24,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b338cf028ed860694d897ef6773d8.jpg",[],153,{"id":321,"slug":322,"title":323,"dynasty":18,"author":324,"museum":325,"description":326,"tags":327,"thumbUrl":328,"material":25,"size":329,"collection":50,"collections":330,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":54},220152,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-liu-gong-quan-220152","神策军碑-皇帝巡幸左神策军纪圣德碑","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[24,7,25,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efbad0515922eed1dfa4d8487673ed2.jpg","58X46",[50],150,{"id":333,"slug":334,"title":335,"dynasty":180,"author":246,"museum":41,"description":336,"tags":337,"thumbUrl":338,"material":30,"size":30,"collection":50,"collections":339,"showCount":340,"zanCount":310,"manualWeight":11,"mainColor":73},221017,"chun-hua-ge-tie-xuan-shi-biao-zhong-yao-221017","淳化阁帖宣示表","宣示表，故宫博物院藏，著名小楷法帖，原为三国时魏钟繇所书，真迹不传于世。只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。",[24,7,26,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6c853dfd420ca1bbc6c91fdf8c5872.jpg",[50],149,{"id":342,"slug":343,"title":344,"dynasty":18,"author":19,"museum":232,"description":345,"tags":346,"thumbUrl":347,"material":348,"size":349,"collection":50,"collections":350,"showCount":351,"zanCount":11,"manualWeight":11,"mainColor":54},221057,"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","《自书告身》，楷书纸本， 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。明末清初画家，中国画一代宗师。",[24,378,364,7,26,379],"行楷","千字文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb304caf1691d1b609551af57383ce73c.jpg",[],138,{"id":384,"slug":385,"title":386,"dynasty":18,"author":19,"museum":41,"description":387,"tags":388,"thumbUrl":389,"material":68,"size":147,"collection":50,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":54},214477,"da-tang-zhong-xing-song-xia-ce-1-yan-zhen-qing-214477","大唐中兴颂下册-1","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[24,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e1815a2be3556f1076f686cd2bf3cd.jpg",[50],136,{"id":393,"slug":394,"title":395,"dynasty":39,"author":40,"museum":41,"description":42,"tags":396,"thumbUrl":397,"material":48,"size":49,"collection":30,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":54},214290,"xiao-kai-luo-shen-fu-ce-4-zhao-meng-fu-214290","小楷洛神赋册-4",[23,24,7,80,45,46,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d91818c9b6238032d2985f530917771.jpg",[],130,{"id":401,"slug":402,"title":403,"dynasty":18,"author":19,"museum":126,"description":404,"tags":405,"thumbUrl":408,"material":30,"size":30,"collection":30,"collections":409,"showCount":410,"zanCount":150,"manualWeight":11,"mainColor":54},227245,"yan-qin-li-bei-yan-zhen-qing-227245","颜勤礼碑","颜勤礼碑，全称唐故秘书省著作郎、夔州都督府长史、上护军颜公神道碑，由颜真卿于唐大历十四年（779年）撰文并书。碑文原为四面刻，现存正书三面，计44行，每行36字。碑文通篇字体给人以厚重、雄健、精丽的感觉，为颜体楷书的巅峰之作。此碑1922年10月于长安出土，现移置西安碑林。",[406,7,25,24,407],"唐代","碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb634e45afaff7caa9dba5ad400676ce2.jpg",[],128,{"id":412,"slug":413,"title":303,"dynasty":180,"author":181,"museum":126,"description":414,"tags":415,"thumbUrl":416,"material":417,"size":30,"collection":50,"collections":418,"showCount":419,"zanCount":241,"manualWeight":11,"mainColor":73},221040,"huang-ting-jing-wang-xi-zhi-221040","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[23,24,7,26,81,66,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[50,216],127,{"id":421,"slug":422,"title":423,"dynasty":59,"author":424,"museum":41,"description":425,"tags":426,"thumbUrl":428,"material":68,"size":429,"collection":50,"collections":430,"showCount":419,"zanCount":218,"manualWeight":11,"mainColor":54},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","米芾","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[23,24,364,7,81,66,427,26,25],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[50],{"id":432,"slug":433,"title":434,"dynasty":194,"author":435,"museum":258,"description":436,"tags":437,"thumbUrl":443,"material":444,"size":30,"collection":172,"collections":445,"showCount":446,"zanCount":447,"manualWeight":11,"mainColor":73},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,96,44,81,97,99,364,7,66,24,161,361,198,438,439,440,441,442],"桌椅","乐器","笔墨纸砚","衣帽","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg","绢本,设色",[172,50],123,6,{"id":449,"slug":450,"title":451,"dynasty":18,"author":19,"museum":452,"description":453,"tags":454,"thumbUrl":455,"material":30,"size":456,"collection":30,"collections":457,"showCount":458,"zanCount":150,"manualWeight":11,"mainColor":34},232596,"duo-bao-ta-quan-bei-yan-zhen-qing-232596","多宝塔全碑","陕西兴平县千福寺","颜真卿是唐代的大书法家。此碑首题“大唐西京千福寺多宝佛塔感应碑文。”正书三十四行，每行六十六字。天宝十一年（公元 752年）刻於陕西兴平县千福寺，宋代移西安碑林，今尚存。楷书，高285厘米，宽 102厘米，为岑勋撰文，颜真卿书，史华刊石。\n《多宝塔碑》是颜真卿早期成名之作，书写恭谨诚恳，直接二王、欧、虞、褚余风。整篇结构严密，字行间有乌丝栏界格，点画圆整，端庄秀丽，一撇一捺显得静中有动，飘然欲仙。此碑拓本精美，笔法结构清晰可见，字体整密匀稳、法度严谨，笔法方折丰劲，秀丽多姿。学颜体者从此碑下手，不久即可入其堂奥。",[24,7,25,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b80377e02767d7e21da48e11e3dac8.jpg","高285厘米，宽 102厘米",[],120,{"id":460,"slug":461,"title":462,"dynasty":39,"author":40,"museum":463,"description":464,"tags":465,"thumbUrl":466,"material":68,"size":467,"collection":50,"collections":468,"showCount":458,"zanCount":310,"manualWeight":11,"mainColor":73},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[23,44,24,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[50],{"id":470,"slug":471,"title":472,"dynasty":194,"author":195,"museum":157,"description":473,"tags":474,"thumbUrl":476,"material":170,"size":477,"collection":172,"collections":478,"showCount":458,"zanCount":150,"manualWeight":11,"mainColor":54},216998,"jin-gang-jing-wen-zheng-ming-216998","金刚经","这幅画描绘了释迦牟尼与他的弟子迦叶和阿难站在一棵松树下，一个迦叶跪在他们面前。在四位金刚护法的环绕下，场景精致而细腻。面板上是文徵明用小楷书写的《金刚经》，笔法细致，与仇英的画相得益彰。",[44,24,83,7,66,475],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a8b708c5e2260b373f837e5c7842b8.jpg","116.4x30.5",[172],{"id":480,"slug":481,"title":482,"dynasty":39,"author":40,"museum":41,"description":42,"tags":483,"thumbUrl":484,"material":48,"size":49,"collection":30,"collections":485,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":54},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[23,129,44,24,7,80,26,45,46,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":18,"author":257,"museum":258,"description":259,"tags":490,"thumbUrl":493,"material":262,"size":263,"collection":50,"collections":494,"showCount":495,"zanCount":150,"manualWeight":11,"mainColor":73},221067,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行",[23,24,7,83,212,66,185,491,492],"墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg",[50,216],114,{"id":497,"slug":498,"title":499,"dynasty":18,"author":500,"museum":126,"description":501,"tags":502,"thumbUrl":503,"material":30,"size":30,"collection":30,"collections":504,"showCount":505,"zanCount":241,"manualWeight":11,"mainColor":34},232594,"yan-ta-sheng-jiao-xu-chu-sui-liang-232594","雁塔圣教序","褚遂良","《圣教序》21行，行42字，共821字，文左行。《圣教序记》20行，行40字，共642字，文右行。前者题额是隶书、后者为篆书。褚遂良的官名，前者为中书令、后者为尚书右仆射。年月日，前者为永徽四年岁次癸丑十月己卯朔十五日癸巳、后者为永徽四年岁次癸丑十二月戊寅朔十日丁亥。\n《雁塔圣教序》为褚遂良五十八岁时书，是最能代表褚遂良楷书风格的作品，字体清丽刚劲，笔法娴熟老成。褚遂良在书写此碑时已进入了老年，至此他已为新型的唐楷创出了一整套规范。\n结体：在字的结体上改变了欧，虞的长形字，创造了看似纤瘦，实则劲秀饱满的字体。王偁曾评说：“……同州、雁塔两圣教序记是其自家之法，世传《兰亭》诸本，亦与率更不类。盖亦多出自家机杼故也。”褚遂良书法特点中整幅书法作品以弧形线条居多，即使是短线条，也有一咏三叹的情调。弧线的大量使用，使原本笔直、坚挺的基本笔画，增加了柔和委婉。褚遂良在起笔时略微多了点逆笔，然后引回，波转一下。这些用笔都使褚遂良的书法显得生动活泼，不局限于原有的形式。《雁塔圣教序》的笔画纤细而俊秀，即使是复杂的波折转笔，也是一丝不苟，毫无须发的遗憾。褚遂良秉承了文人书法家的笔法，在书写过程中却又能把握轻重、灌输力量。\n运笔：《雁塔圣教序》在运笔上则采用方圆兼施，逆起逆止；横画竖入，竖画横起，首尾之间皆有起伏顿挫，提按使转以及回锋出锋也都有了一定的规矩。唐张怀瓘评此书云：“美女婵娟似不轻于罗绮，铅华绰约甚有余态。”清代秦文锦亦评曰：“褚登善书，貌如罗琦婵娟，神态铜柯铁干。此碑尤婉媚遒逸，波拂如游丝。能将转折微妙处一一传出，摩勒之精，为有唐各碑之冠。”\n评价：《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[24,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22cb1a211275d5e13e089e574ad1a1e.jpg",[],112,{"id":507,"slug":508,"title":509,"dynasty":155,"author":510,"museum":157,"description":511,"tags":512,"thumbUrl":514,"material":48,"size":515,"collection":50,"collections":516,"showCount":505,"zanCount":150,"manualWeight":11,"mainColor":73},214234,"kai-shu-qi-yan-lian-ceng-guo-quan-214234","楷书七言联","曾国荃","此联楷书用笔沉雄稳健，起笔收锋间见骨力，转折处圆劲含刚，如锥画沙般扎实。结体端方规整却不拘板，字势略带欹侧之趣，于庄重中藏灵动。墨色浓淡相宜，枯润互见，与泛黄纸本相映，更显古雅醇厚。联语布局疏朗有致，上下呼应，气韵贯通，既见文人书法的书卷清气，又隐现武将出身的沉雄气概，笔墨间藏纳岁月沉淀的厚重，堪称晚清楷书佳作。",[23,7,513,24,46,475],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65b7cd19665fb611b40fa719af531fd.jpg","158.8x38.4",[50],{"id":518,"slug":519,"title":520,"dynasty":59,"author":60,"museum":157,"description":521,"tags":522,"thumbUrl":528,"material":529,"size":530,"collection":105,"collections":531,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":54},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,81,99,523,46,97,364,7,66,360,524,525,361,526,527],"皴法","孤舟","江景","山石","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","绢本，设色","纵30.3厘米，横190.8厘米",[105,367,532],"水墨画精选",111,{"id":535,"slug":536,"title":537,"dynasty":194,"author":538,"museum":41,"description":539,"tags":540,"thumbUrl":547,"material":68,"size":548,"collection":50,"collections":549,"showCount":533,"zanCount":139,"manualWeight":11,"mainColor":73},219153,"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","沈度","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[23,24,7,541,542,543,544,545,68,546],"明代","台阁体","工整","严谨","秀丽","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米",[50],{"id":551,"slug":552,"title":553,"dynasty":155,"author":554,"museum":126,"description":555,"tags":556,"thumbUrl":557,"material":135,"size":136,"collection":30,"collections":558,"showCount":559,"zanCount":11,"manualWeight":11,"mainColor":54},224201,"lin-yan-zhen-qing-qian-zi-wen-liang-guo-zhi-224201","临颜真卿千字文","梁国治","梁国治（1723-1786），清代书法家，乾隆十三年（1748年）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书，充任过《四库全书》副总裁。平生治事缜密，廉政清俭，好学爱才。工书法，著有《敬思堂文集》。《颜真卿千字文》。",[24,160,7,81,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0643af22586246a4af13474b8d9d6cb.jpg",[],110,{"id":561,"slug":562,"title":563,"dynasty":18,"author":324,"museum":126,"description":564,"tags":565,"thumbUrl":566,"material":135,"size":136,"collection":30,"collections":567,"showCount":568,"zanCount":150,"manualWeight":11,"mainColor":54},227259,"xuan-mi-ta-bei-yuan-ke-liu-gong-quan-227259","玄秘塔碑原刻","《玄秘塔碑》，全称《唐故左街僧录内供奉三教谈论引驾大德安国寺上座赐紫大达法师玄秘塔碑铭并序》，是唐会昌元年 （841年）由时任宰相的裴休撰文，书法家柳公权书丹而成，为楷书书法作品。现今保存于西安碑林第二室。\n《玄秘塔碑》共28行，每行54字。叙大达法师在德宗、顺宗、宪宗三朝所受恩遇，以纪念大达法师之事迹而告示后人。其结体紧密，笔法锐利，筋骨外露，阳刚十足，字迹如刀刻一般，且笔画粗细变化多端，风格特点显著。 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、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[7,25,24,26,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d37fc973561d02da112fe7cedaa550.jpg",[],86,{"id":809,"slug":810,"title":489,"dynasty":18,"author":257,"museum":258,"description":259,"tags":811,"thumbUrl":812,"material":262,"size":263,"collection":50,"collections":813,"showCount":807,"zanCount":241,"manualWeight":11,"mainColor":73},221068,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068",[23,24,7,83,66,81,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[50,216],{"id":815,"slug":816,"title":817,"dynasty":18,"author":818,"museum":126,"description":819,"tags":820,"thumbUrl":822,"material":68,"size":135,"collection":50,"collections":823,"showCount":824,"zanCount":150,"manualWeight":11,"mainColor":73},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","白居易","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[23,24,7,185,821,492,82],"抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg",[50],85,{"id":826,"slug":827,"title":379,"dynasty":39,"author":40,"museum":41,"description":828,"tags":829,"thumbUrl":830,"material":277,"size":831,"collection":50,"collections":832,"showCount":824,"zanCount":150,"manualWeight":11,"mainColor":54},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[23,44,24,364,7,81,26,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[50],{"id":834,"slug":835,"title":836,"dynasty":837,"author":658,"museum":126,"description":838,"tags":839,"thumbUrl":840,"material":841,"size":30,"collection":30,"collections":842,"showCount":824,"zanCount":150,"manualWeight":11,"mainColor":54},214218,"zhang-fu-jun-mu-zhi-yi-ming-214218","张府君墓志","南北朝","该碑以普通文字书写，共二十行，每行二十字，共三百六十七字。虽然墓碑上写的是普通的文字，但笔法却不拘一格，克制而自然优雅。其笔法是中锋和侧锋的结合，笔画有方有圆，风格活泼而优雅，是北魏书法的典范。",[23,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51bd478d09e0fce1f51dd2d2bdcff33.jpg","纸本,拓本,水墨",[],{"id":844,"slug":845,"title":314,"dynasty":18,"author":285,"museum":126,"description":315,"tags":846,"thumbUrl":847,"material":135,"size":136,"collection":30,"collections":848,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":54},288063,"jiu-cheng-gong-li-quan-ming-ou-yang-xun-288063",[24,25,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fda3b529a4e8630d3ed9778c71c8e5f.jpg",[],84,{"id":851,"slug":852,"title":853,"dynasty":18,"author":500,"museum":126,"description":854,"tags":855,"thumbUrl":856,"material":30,"size":30,"collection":30,"collections":857,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":54},227080,"da-zi-yin-fu-jing-chu-sui-liang-227080","大字阴符经","真书，墨迹本，共96行，计461字，传唐代褚遂良写于唐永徽五年(654)。钤有“建业文房之印”、“河东南路转运使印”等鉴藏印。其书字笔画瘦劲，但结体宽博，尚保留隶书的笔意。小楷本和大楷本皆有说法，难以断真。其中，小楷本的楷法端妍，《越州石氏帖》有摹刻，字体细小如“蝇头”，行字茂密又疏朗舒适，从严谨的笔法中可见魏晋之风韵。而大楷本则笔力劲健，形态多姿，风流倜傥，沉着而畅展。此外《大字阴符经》有许多行的笔意，如起笔直下与收笔的引带都加强了字内的联系，使其更为生动活泼。",[24,7,66,44,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d62e49f45da0be16f6bb4748fcc57a.jpg",[],{"id":859,"slug":860,"title":861,"dynasty":180,"author":246,"museum":780,"description":862,"tags":863,"thumbUrl":864,"material":7,"size":30,"collection":50,"collections":865,"showCount":866,"zanCount":150,"manualWeight":11,"mainColor":54},221016,"jian-ji-zhi-biao-zhong-yao-221016","荐季直表","此帖或为唐人根据原本所摹，或为伪托，但应属“伪好物”。由于它具有钟书的基本特征和很高的艺术价值，故得到书界的重视和高度评价。如陆行直说：“繇《荐季直表》高古纯朴，超妙入神，无晋唐插花美女之态。”王世贞认为，在此帖显世之后，“天下之学钟者，不再知有《淳化阁》”（指《淳化阁》所载钟繇诸刻帖）。此帖笔画、结字都极其自然，章法错落。梁武帝等所说“云鹤游天”，“群鸿戏海”以及“行间茂密”等于此帖表现最为鲜明。钟繇所创造的“钟体”，同王羲之的“王体”是我国书法史上两个历久不衰的艺术典型，影响极其深远。",[24,7,66,25,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b01459c23dcc3a188f5b9cf3507377.jpg",[50],83,{"id":868,"slug":869,"title":870,"dynasty":194,"author":658,"museum":126,"description":871,"tags":872,"thumbUrl":873,"material":30,"size":30,"collection":30,"collections":874,"showCount":875,"zanCount":150,"manualWeight":11,"mainColor":73},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[44,24,45,7,66,46,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],80,{"id":877,"slug":878,"title":879,"dynasty":155,"author":880,"museum":126,"description":881,"tags":882,"thumbUrl":883,"material":68,"size":30,"collection":50,"collections":884,"showCount":885,"zanCount":150,"manualWeight":11,"mainColor":886},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","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。",[23,24,83,212,7,66,44,81,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[50],74,"FFFFFF",{"id":888,"slug":889,"title":890,"dynasty":18,"author":19,"museum":780,"description":891,"tags":892,"thumbUrl":893,"material":82,"size":894,"collection":50,"collections":895,"showCount":885,"zanCount":11,"manualWeight":11,"mainColor":896},221060,"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[23,24,7,81,25,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[50,216],"F48FB1",{"id":898,"slug":899,"title":900,"dynasty":59,"author":658,"museum":126,"description":901,"tags":902,"thumbUrl":905,"mat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而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[23,24,7,44,914,82,915],"元代","碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","32x1126厘米",[50],{"id":920,"slug":921,"title":922,"dynasty":18,"author":658,"museum":923,"description":924,"tags":925,"thumbUrl":927,"material":30,"size":30,"collection":50,"collections":928,"showCount":929,"zanCount":241,"manualWeight":11,"mainColor":54},221045,"jin-gang-bo-re-bo-luo-mi-jing-juan-liu-hong-gui-shu-tang-chao-yi-feng-yuan-nian-shou-gao-yi-ming-221045","金刚般若波罗蜜经.卷.刘弘珪书.唐朝仪凤元年手稿","中国国家图书馆","本卷金刚般若波罗蜜经不是一般的金刚般若波罗蜜经，而是中国国家图书馆藏敦煌卷轴——唐朝仪凤元年手稿扫描件制成的，因为该文献略有残缺，更突显了金刚般若波罗蜜经卷轴的珍贵，看惯了简体字的你，或许可以看看唐朝时期的金刚般若波罗蜜经是什么样的。",[23,83,24,7,926,185],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29c7659e45397d5dcba55140d981984.jpg",[50],72,{"id":931,"slug":932,"title":933,"dynasty":59,"author":934,"museum":93,"description":935,"tags":936,"thumbUrl":937,"material":68,"size":938,"collection":50,"collections":939,"showCount":940,"zanCount":150,"manualWeight":11,"mainColor":73},221432,"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[23,364,7,24,81,82,66,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[50],71,{"id":942,"slug":943,"title":944,"dynasty":59,"author":945,"museum":946,"description":947,"tags":948,"thumbUrl":952,"material":68,"size":953,"collection":105,"collections":954,"showCount":955,"zanCount":241,"manualWeight":11,"mainColor":34},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","美国弗利尔美术馆","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,96,44,81,949,161,950,951,24,364,235,7],"白描","马","帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[105],70,{"id":957,"slug":958,"title":959,"dynasty":194,"author":960,"museum":41,"description":961,"tags":962,"thumbUrl":963,"material":68,"size":964,"collection":50,"collections":965,"showCount":955,"zanCount":241,"manualWeight":11,"mainColor":73},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","杜琼","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[23,24,364,7,378,492,46,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[50],{"id":967,"slug":968,"title":379,"dynasty":18,"author":19,"museum":126,"description":803,"tags":969,"thumbUrl":970,"material":135,"size":136,"collection":30,"collections":971,"showCount":972,"zanCount":241,"manualWeight":11,"mainColor":73},288120,"qian-zi-wen-yan-zhen-qing-288120",[24,7,26,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8418435d0fe0ef66fa4218179cde3c.jpg",[],69,{"id":974,"slug":975,"title":976,"dynasty":194,"author":977,"museum":126,"description":978,"tags":979,"thumbUrl":980,"material":135,"size":136,"collection":30,"collections":981,"showCount":982,"zanCount":11,"manualWeight":11,"mainColor":54},289762,"hua-shan-tu-ce-wang-lv-289762","华山图册","王履","王履，字安道，号畸叟，又号抱独老人，约生于元至顺三年（公元1332年），卒年不详，明洪武十六年（公元1383年）尚在，昆山（今属江苏）人，祖籍魏博（今河北境内），元末明初医学家、画家、诗人。学医于朱丹溪，是其门人，尽得朱氏之学。",[7,24,45,44,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab434cd3bc94d142ad46e3f6b945da1.jpg",[],68,{"id":984,"slug":985,"title":509,"dynasty":155,"author":510,"museum":157,"description":986,"tags":987,"thumbUrl":988,"material":48,"size":989,"collection":50,"collections":990,"showCount":982,"zanCount":11,"manualWeight":11,"mainColor":54},214235,"kai-shu-qi-yan-lian-ceng-guo-quan-214235","此联楷书笔力沉雄，起收顿挫间见骨力，中锋行笔如锥画沙，墨色浓润饱满。字形端稳方正却不失灵动之致，每一字皆如磐石立地，又暗含舒展之态。联句“前席争传宣室贵”“等身唯守鲁堂书”，文气与书风相融，宣室之重与鲁堂之雅在笔墨间流转。上下联布局匀称，落款小字恭谨，与主体大字相得益彰，章法严谨而气韵贯通。观之如临古贤书斋，庄重中透着书卷清韵，笔墨里藏着经世之志与向学之心，尽显大家风范。",[23,155,24,7,513,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bdeaf2d0e294120d16ea7f43344af9.jpg","162.2x38.6",[50],{"id":992,"slug":993,"title":879,"dynasty":18,"author":500,"museum":20,"description":994,"tags":995,"thumbUrl":996,"material":30,"size":997,"collection":30,"collections":998,"showCount":999,"zanCount":150,"manualWeight":11,"mainColor":34},232597,"xin-jing-chu-sui-liang-232597","古往今來，《心經》深受人們喜愛，歷代書法名家和廣大書法愛好者以之練習書法或進行書法創作，既能提高書法水平，又能起到修心養性的作用。\n此拓本褚遂良《心經》，雖然落款「辛丑年 遂良書」，但是很多人認爲是僞托之作。\n释文:观自在菩萨,行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色，受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界。无无明，亦无无明尽，乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵，依般若波罗蜜多故，心无罣碍，无罣碍故，无有恐怖，远离颠倒梦想，究竟涅磐。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭谛揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。",[24,83,7,25,212,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870e9df1ad4582940f40d44cbf34d87.jpg","高285厘米，宽102厘米",[],67,{"id":1001,"slug":1002,"title":256,"dynasty":18,"author":257,"museum":258,"description":259,"tags":1003,"thumbUrl":1004,"material":262,"size":263,"collection":50,"collections":1005,"showCount":1006,"zanCount":241,"manualWeight":11,"mainColor":73},221070,"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[23,24,7,83,26,81,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[50,216],66,{"id":1008,"slug":1009,"title":1010,"dynasty":59,"author":1011,"museum":126,"description":1012,"tags":1013,"thumbUrl":1017,"material":135,"size":136,"collection":30,"collections":1018,"showCount":1019,"zanCount":11,"manualWeight":11,"mainColor":73},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[1014,96,44,903,99,97,1015,1016,24,7,66],"扇面","山茶","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":1021,"slug":1022,"title":1023,"dynasty":837,"author":658,"museum":1024,"description":1025,"tags":1026,"thumbUrl":1028,"material":7,"size":30,"collection":216,"collections":1029,"showCount":1019,"zanCount":11,"manualWeight":11,"mainColor":73},226534,"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[23,1027,7,25,212,24],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[216],{"id":1031,"slug":1032,"title":1033,"dynasty":194,"author":1034,"museum":1035,"description":1036,"tags":1037,"thumbUrl":1038,"material":625,"size":1039,"collection":50,"collections":1040,"showCount":1041,"zanCount":241,"manualWeight":11,"mainColor":73},222247,"nan-hua-zhen-jing-wang-chong-222247","南华真经","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。",[23,24,83,81,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8deb6432f583ee8a984338a7c0a3cdfa.jpg","每开尺寸长19.1、宽12.5厘米",[50],64,{"id":1043,"slug":1044,"title":1045,"dynasty":59,"author":60,"museum":1046,"description":1047,"tags":1048,"thumbUrl":1049,"material":1050,"size":1051,"collection":30,"collections":1052,"showCount":1053,"zanCount":11,"manualWeight":11,"mainColor":34},232616,"shen-xiao-yu-qing-wan-shou-gong-zhao-zhao-ji-232616","神霄玉清万寿宫诏","海南省海口市五公祠","《神霄玉清万寿宫诏》碑是宋徽宗赵佶于宣和元年（1119年）用瘦金体御书的一块碑铭。他崇奉道教，自称“教自道君皇帝”，书写后令汴京神霄宫先刻碑，即后以该碑的拓本颁赐天下摹勒立碑。该碑是《清万寿宫诏》碑之一，位于海南省海口市五公祠内，另一通现存福建省莆田市元妙观三清殿内。\n《神霄玉清万寿宫诏》碑在海南琼山府城五公祠内，为宋徽宗赵佶书，海南《神霄玉清万寿宫诏》碑额已失，驮碑的巨型贔屭仍存。现存碑身高2.34米，宽1.21米，书于宣和元年。该碑瘦金体书法挺拔，舒展遒丽，运笔灵动。周刻回文，中暗刻青龙十八条。宋徽宗笃信道教，该碑于汴京刻成后，拓片分发全国各地翻刻竖立。宋徽宗是亡国之君，其碑刻多被后人毁坏\n据可考史料，全国仅存两尊《神霄玉清万寿宫诏》碑，除了五公祠内这一尊，另一尊现存福建省蒲田市元妙观三清殿内。 海南岛上的这通《神霄玉清万寿宫诏》碑原立在琼州府城的天庆观内，元初改称玄妙观，明更名为玉皇庙，清初玉皇庙倒塌。但这通碑被完整地保存下来，几经迁移，1983年移立于两伏波祠前拜亭内；1994年被公布为海南省第一批文物保护单位；2001年又同五公祠一起被公布为第五批全国重点文物保护单位。\n该碑高2.55米，宽1.3米，厚0.29米，正面光平如镜，背面保留开凿时的原貌。碑文竖行，16行，366字，瘦金体，无标点符号，右行“神霄玉清万寿宫诏御制御书”，正文主要阐述了宋徽宗崇信道教的缘由。\n碑文原文:道者，体之可以即至神；用之可以挈天地；推之可以治天下国家，可使一世之民，举得其恬淡寂常之真，而跻于仁寿之域。朕思是道，人所固有，沉迷既久，待教而兴。俾欲革末世之流俗，还隆古之纯风。盖尝稽参道家之说，独观希夷之妙。\n钦惟长生大帝君、青华大帝君，体道之妙，立乎万物之上。统御神霄，监观万国无疆之休。虽眇躬是荷，而下民之命，实明神所司。乃诏天下，建神霄玉清万寿宫，以严奉祀。自京师始，以致崇极，以示训化，累年于兹，诚忱感格，高厚博临。属者，三元八节，按冲科、启净供，风马云车，来顾来飨。震电交举，神光烛天，群仙翼翼，浮空而来者，或掷宝剑，或洒玉篇，骇听夺目，追参化元。卿士大夫，侍卫之臣，悉见悉闻，叹未之有，咸有纪述，著之简编。\n呜呼！朕之所以隆振道教，帝君之所以眷命孚佑者，自帝皇以还，数千年绝道之后，乃复见于今日，可谓盛矣！岂天之将兴斯文以遗朕，而吾民之幸，适见正于今日耶？布告天下，其谕朕意，毋忽。乃令京师神霄玉清万寿宫刻诏于碑，以碑本赐天下，如大中祥符故事，摹勒立石，以垂无穷。\n宣和元年八月十二日奉圣旨立石。",[23,24,63,7,81,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4739e1d31d9aef0754aa90b310aebc23.jpg","碑","高2.55米，宽1.3米，厚0.29米",[],62,{"id":1055,"slug":1056,"title":1057,"dynasty":18,"author":658,"museum":126,"description":1058,"tags":1059,"thumbUrl":1062,"material":30,"size":30,"collection":30,"collections":1063,"showCount":1064,"zanCount":11,"manualWeight":11,"mainColor":54},227227,"fo-jiao-xin-jing-yi-ming-227227","佛教 心经","《般若波罗蜜多心经》（梵语：प्रज्ञापारमिताहृदय Prajñāpāramitāhṛdaya 藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[23,406,212,24,83,7,97,44,1060,1061],"墨笔","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],61,{"id":1066,"slug":1067,"title":1068,"dynasty":1069,"author":1070,"museum":157,"description":1071,"tags":1072,"thumbUrl":1073,"material":68,"size":30,"collection":50,"collections":1074,"showCount":1064,"zanCount":241,"manualWeight":11,"mainColor":54},221050,"ping-shu-tie-zhi-guo-221050","评书帖","隋","智果","智果，隋仁寿年间书法家，师从智永，会稽（今浙江绍兴）人。隋炀帝曾说“智永得右军（王羲之）肉，智果得右军骨。”",[24,7,45,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe564d6e36aaa834951fd5f5ade936548.jpg",[50,216],{"id":1076,"slug":1077,"title":1078,"dynasty":194,"author":1079,"museum":126,"description":1080,"tags":1081,"thumbUrl":1084,"material":135,"size":136,"collection":30,"collections":1085,"showCount":1086,"zanCount":150,"manualWeight":11,"mainColor":73},290852,"pin-cha-tu-zhou-tang-yin-290852","品茶图轴","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。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”。",[129,96,44,475,46,24,66,364,7,360,161,1082,526,695,1083],"枯树","品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":285,"museum":93,"description":1091,"tags":1092,"thumbUrl":1093,"material":68,"size":30,"collection":50,"collections":1094,"showCount":1086,"zanCount":241,"manualWeight":11,"mainColor":73},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[23,24,7,81,44,66,26,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[50],{"id":1096,"slug":1097,"title":1098,"dynasty":180,"author":1099,"museum":126,"description":1100,"tags":1101,"thumbUrl":1104,"material":80,"size":30,"collection":216,"collections":1105,"showCount":1086,"zanCount":11,"manualWeight":11,"mainColor":54},221025,"luo-shen-fu-shi-san-xing-bi-yu-ban-wang-xian-zhi-221025","洛神赋十三行·碧玉版","王献之","《洛神赋》是三国时期文学家曹植创作的辞赋名篇。以浪漫主义手法虚构了自己与洛神的邂逅和彼此思恋爱慕的故事。描写人神之间的真挚爱情，但终因“人神殊道”无法结合而惆怅分离。\n《玉版十三行》是王献之小楷代表作，被誉为“小楷极则”，笔画隽秀挺拔，结字萧散逸荡，顾盼有致，盛名千年不衰。墨迹在宋元时有两本，一为晋麻笺本，一为唐硬黄本，上有柳公权跋，疑为柳公权临本。王献之写过不只一本《洛神赋》，原本墨迹写在晋麻笺纸上，也称晋麻笺本，但流传到唐宋时代就已经首尾残损缺失。如今真迹已不复存在了，唯留南宋时残存的竖版十三行二百五十余字内容小楷作品，在宋代的著录类图书《寳刻類編》中，使用了“《洛神赋》十三行”的称谓，自明代以来普遍称为“十三行”，故称“洛神赋十三行”，简称“十三行”。\n后人相传南宋晚期权相贾似道先得晋麻笺本九行，后又续得四行，乃命巧匠摹刻十三行于佳石之上。因石色深暗青碧材质细腻如玉，出于对书法作品的尊敬，后人尊称为玉版，世称“玉版十三行”，又称“碧玉十三行”。\n后因宋元战火“玉版十三行”石版下落不明，直至明万历年间，在杭州西湖葛岭半闲堂旧址地下发现一方石刻，因其出土地为贾似道半闲堂旧址，时人根据各种资料推论，这就是晋麻笺本“玉版十三行”。“玉版十三行”复得后，归陆梦鹤、翁嵩年。\n这件“碧玉版十三行”到底是谁刻的，目前来说还没有定论，有人认为是翻刻自《寶晉齋法帖》，而《寶晉齋法帖》是南宋曹知格所刻，成于咸淳四年（1268年）。目前藏于首博的这件“玉版十三行”被鉴定为宋代刻石。\n目前认为流传下来的刻本为宋代根据真迹上石的拓本，包括“碧玉版”和“白玉版”两种，“白玉版”为明、清两代宫廷命巧匠根据“碧玉版”将其内容摹刻于白玉之上，有明版和清乾隆版两种，为“碧玉版”的翻版。明“白玉版本”，笔划比“碧玉版本”略枯瘦，石花剥落处有刀刻的痕迹，可知是“碧玉版”翻刻本。明“白玉版”在清代嘉庆三年毁于乾清宫火灾。",[7,25,24,26,1102,1103],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357fc44a3319b6da2cf411f5a623960e.jpg",[216],{"id":1107,"slug":1108,"title":1109,"dynasty":59,"author":1110,"museum":1111,"description":1112,"tags":1113,"thumbUrl":1117,"material":529,"size":1118,"collection":105,"collections":1119,"showCount":1120,"zanCount":241,"manualWeight":11,"mainColor":54},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","李公麟","美国弗瑞尔美术馆","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,129,96,44,81,949,46,97,161,360,361,695,524,362,198,364,7,1114,1115,100,1116],"菊","竹","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,44,24,81,364,7,66,46,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[50,216],{"id":1258,"slug":1259,"title":1260,"dynasty":18,"author":257,"museum":126,"description":1261,"tags":1262,"thumbUrl":1263,"material":68,"size":1264,"collection":50,"collections":1265,"showCount":1247,"zanCount":150,"manualWeight":11,"mainColor":73},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 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而此菩萨摩诃萨。已能修行甚深般若波罗蜜多。观自五蕴自性皆空。尔时尊者舍利子。承佛威神。前白观自在菩萨摩诃萨言：若善男子善女人， 于此甚深般若波罗蜜多法门，乐欲修学者，当云何学？",[212,83,24,7,161,66,926,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e1da114336cb368bee1189390d642d.jpg",[],45,{"id":1347,"slug":1348,"title":1349,"dynasty":180,"author":658,"museum":126,"description":1350,"tags":1351,"thumbUrl":1353,"material":28,"size":1354,"collection":30,"collections":1355,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":54},214205,"cuan-bao-zi-bei-yi-ming-214205","爨宝子碑","这块碑文包含了关于墓主爨宝子的生平和对他的讴歌的信息。该碑字体属于隶书向楷书过渡的书体。",[23,1352,25,24,7,407],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a113203545337ff5ce799141a3f40ac.jpg","190x71",[],{"id":1357,"slug":1358,"title":1359,"dynasty":39,"author":40,"museum":692,"description":1360,"tags":1361,"thumbUrl":1362,"material":1363,"size":1364,"collection":50,"collections":1365,"showCount":1366,"zanCount":310,"manualWeight":11,"mainColor":54},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[23,24,83,81,7,46,212,66,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[50],44,{"id":1368,"slug":1369,"title":1370,"dynasty":59,"author":1371,"museum":157,"description":1372,"tags":1373,"thumbUrl":1374,"material":444,"size":1375,"collection":172,"collections":1376,"showCount":1377,"zanCount":241,"manualWeight":11,"mainColor":54},219308,"san-yang-kai-tai-tu-qian-xuan-219308","三阳开泰图","钱选","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[96,44,97,99,161,1273,164,526,24,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[172],43,{"id":1379,"slug":1380,"title":1381,"dynasty":155,"author":1382,"museum":126,"description":1383,"tags":1384,"thumbUrl":1388,"material":135,"size":136,"collection":30,"collections":1389,"showCount":1390,"zanCount":150,"manualWeight":11,"mainColor":73},290310,"ke-si-sui-chao-tu-zhou-qing-ren-290310","缂丝岁朝图轴","清人","此件以葫芦形制为框，暗合福禄祥瑞之意。上部题诗笔墨清雅，与下方缂丝清供呼应成趣。瓶中梅枝疏朗横斜，茶花绽艳吐芳，间衬天竹、水仙，尽显冬日生机。案间鲜果盈盘、灵芝盆栽错落排布，更缀如意、方胜等吉物，将岁朝祈福的雅俗意趣融于尺幅之中。缂丝走线匀整细腻，晕染出花叶鲜活层次，配色古雅沉静，把宫廷岁朝清供的雅致氛围铺陈尽致，以工艺之美承载年节吉庆的融融意涵，是岁朝题材里颇具巧思的上乘之作。",[96,475,1385,903,1386,1387,24,7,97,99],"缂丝","梅","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f6be4a302e0b915866928d06c0d098.jpg",[],41,{"id":1392,"slug":1393,"title":1394,"dynasty":59,"author":658,"museum":157,"description":1395,"tags":1396,"thumbUrl":1402,"material":444,"size":1403,"collection":105,"collections":1404,"showCount":1390,"zanCount":241,"manualWeight":11,"mainColor":54},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,96,44,81,97,99,98,7,161,101,132,360,361,1397,1398,1399,526,1400,1401],"庭院","台阶","旗帜","官员","仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[105],{"id":1406,"slug":1407,"title":1408,"dynasty":155,"author":770,"museum":41,"description":1409,"tags":1410,"thumbUrl":1411,"material":1412,"size":1413,"collection":50,"collections":1414,"showCount":1415,"zanCount":241,"manualWeight":11,"mainColor":73},239982,"zhao-meng-fu-da-shi-zan-juan-ai-xin-jue-luo-yong-xing-239982","赵孟頫大士赞卷","释文：\n秉般若。剑推黑暗尽光明。洞然行佛心，令令行如焰。无处凑泊，锋锷未露，天魔胆落。\n明月一圆，清风两袖。笊篱笊篱，虽工莫售。莫信者何，劳心碌碌。譬动水珠，竟无捞摸。\n彼卖鱼者，一钱两尾。踏破指头，白昼见鬼。隐菩萨身，化童女真。非大悲心，着甚死嗔。\n飞鸟拍肩，蹲蹲将及。正未及闲，狂心顿息。天和气薰，小雨沾裳。浮云柳絮，空阔飞扬。师猎得麕，师农得粟。善财无法，礼菩萨足。菩萨不定，前瞻后瞩。汝自问取，白云青竹。\n赵文敏公大士赞。为恒府德斋书。成亲王。\n款署 ：“为恒府德斋书。成亲王。”钤“成亲王”、“诒晋斋印”白文印2方。鉴藏印钤“芸阶姚氏收藏”朱文印。\n外有题签“成哲亲王书赵文敏公大士赞。石雪居士题签”。钤“徐宗浩印”。知此卷曾为徐石雪所藏。\n此作以恭楷录赵孟頫大士赞。用笔清劲峭拔，结字整肃，极见唐人楷法之精绝。",[24,7,81,66,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b807dbacbd0c0949eec6226c73eab8a.jpg","纸本，楷书","纵32.8厘米，横89厘米",[50],40,{"id":1417,"slug":1418,"title":1419,"dynasty":18,"author":19,"museum":20,"description":1420,"tags":1421,"thumbUrl":1423,"material":30,"size":997,"collection":30,"collections":1424,"showCount":1415,"zanCount":150,"manualWeight":11,"mainColor":34},232598,"duo-bao-ta-gan-ying-bei-yuan-ke-yan-zhen-qing-232598","多宝塔感应碑 原刻","《多宝塔碑》全称为《大唐西京千福寺多宝佛塔感应碑》，是唐天宝十一年（752年）由当时的文人岑勋撰文、书法家徐浩题额、书法家颜真卿书丹、碑刻家史华刻石而成，是楷书书法作品。现今保存于西安碑林第二室。\n此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。\n唐朝天宝年间，楚金禅师夜诵《法华经》时，仿佛有多宝佛塔呈现眼前，他想把幻觉中的多宝佛塔变为现实，誓志筹建。在修造期间，甚至出现了种种灵应和神奇的事情。这份诚意感动了唐玄宗，于是赏赐钱帛，并亲题塔额。经过4年的努力，多宝佛塔终于在天宝十一年（752年）建成。\n而时任武部员外郎、44岁的颜真卿被选中来书写碑文。颜真卿和当时的大多数知识分子一样是正统的儒家，但也信奉佛教，他的书法风格直接“二王”、欧、虞、褚余风，而又与唐人写经有明显的相似之处。碑文的作者岑勋，是诗人岑参的从弟；题写碑额的徐浩，年长颜真卿6岁，是当时的书法名家，也是张旭的学生，这是他俩第一次合作书碑；史华则是当时的刻碑高手。\n该碑用笔多中锋，起笔和收笔有明显的顿按。起笔藏锋为主，兼用露锋，方圆并用。有些横画起笔较为外露，不同于柳体的齐头方脚，而是稍存斜尖，并参以含蓄的笔意使之变化丰富；收笔用顿笔和回锋的较多，强调“护尾”，尤其于横画中最为明显，写横行至收笔处，常向右下方重按，顿笔回锋，体现出颜体的雄浑、大气之韵，竖画粗壮，浑厚力强。横、竖笔画粗细对比鲜明，富节奏、韵律美感，也把颜体的一个“筋”的意味完整地表达出来。\n颜体撇画较轻盈挺健，捺画却粗壮有力，有“蚕头燕尾”之称，给人以刚健的动感，尤其是捺脚较长，顿挫后踢出开衩，含蓄而又有峻利之感。另外，颜体捺画的捺脚多与撇画锋尖持平或稍低，不似柳体的撇低捺高，而呈现出一种舒展沉稳之美。《多宝塔碑》转折变化较多，主要有提耸肩顿挫和按笔削肩暗转之法，有方有圆，方圆兼施。该碑具有唐楷“尚法”的典型特征，结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，已初显颜体成熟期正面示人、雄浑豪迈的书风。\n《多宝塔碑》整篇结构严密，字行间有乌丝栏界格，其结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，布势均匀，四周撑满，故气势雄伟，这是“颜体”佛书的又一特色。颜真卿的结体，用的是“外拓”笔法，字势方正，撇捺竭力向左右拓展，气势博大恢弘。无论独体字，还是合体字，都以中心轴线为重心，在结构处理上，既讲究规矩，又生动活泼。在楷书史上还没有一个人有过这样的结体方式，尤其是捺脚，重拙而不作波曳之状，线条涩重雄强，气概非凡。\n《多宝塔碑》的章法之美：整幅作品纵横整齐。从纵看，字的中心在中轴线上；字的大小配合得当。整体雄伟恢弘，实也秀媚多姿。\n明代学者孙鑛《书画跋》：“此是鲁公最匀稳书，亦尽秀媚多姿，第微带俗，正是近世掾史家鼻祖。”\n明代戏曲理论家何良俊《四友斋书论》：“正所谓世下最传者，盖鲁公书妙在险劲，而此书太整齐，失之板耳。”\n现代书法家欧阳中石：“它是颜碑中最讲用笔，法度最为细密严谨的一部。”\n陕西师范大学历史文化学院教授张懋镕：“整篇结构严密，点画圆整，端庄而不呆板。”\n《多宝塔碑》蕴含了“二王”和初唐以来书家的风流，历来为书家珍重。它是唐代“尚法”的代表碑刻之一，学颜体者多从此碑下手，入其堂奥。学子描红、士子举业、居士写经、坊间印书，竞相仿效。至今仍是适用非常广、影响十分巨大的书法作品。\n颜真卿传世书碑之作中，《多宝塔碑》所蕴文献价值是非常大的。其一，此碑书写厚重，石料坚硬细腻，加上运用了直刀深刻法进行镌刻，因而历经1000多年的锤拓仍完好如初，字口清晰，神采奕奕。除康熙年间碑石断裂损泐二十字之外，无缺文、疑字，这对赏鉴颜书、校考碑文、考辨各代拓本流传都甚为有利。其二，碑文撰者岑勋、多宝塔出资助修者许王瓘，检阅史籍后考得生平事迹一二，或可补史志未载。其三，碑文所记禅师楚金事可与同门僧人飞锡撰《楚金禅师碑》及佛教文献互参校考。其四，多宝塔碑叙记之事多有虚诞，但基于唐玄宗时佛教发展达于极盛，伽蓝之数较唐初几增一倍的史实，反观此碑言及，亦无疑是对当时“抑而不毁”的佛教之况、政教关系的一种反映。",[406,7,25,24,407,1422],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c0cd473a1a4b8fef76316a36533dd.jpg",[],{"id":1426,"slug":1427,"title":1428,"dynasty":18,"author":658,"museum":41,"description":1429,"tags":1430,"thumbUrl":1432,"material":30,"size":1433,"collection":50,"collections":1434,"showCount":1415,"zanCount":241,"manualWeight":11,"mainColor":54},221091,"da-bao-ji-jing-juan-di-san-shi-er-jin-zi-da-zang-jing-yi-ming-221091","大宝积经卷第三十二金字大藏经","此作用磁青纸为底，泥金小楷书就，靛蓝如深谧夜幕，金墨似碎钻凝光，视觉上庄雅夺目。唐人小楷结体端秀匀整，笔力圆劲内敛，通篇数十万字无一疏怠，法度谨严，尽显写经人奉持恭谨之心。\n整卷铺展如星河长流，暗合经文肃穆禅意，泥金历千年依旧煌煌夺目，纸色沉穆古雅。它既彰显了唐代佛教文化的鼎盛，也展现出彼时写经技艺的巅峰水准，笔墨间饱含虔诚的信仰之力，是书法工艺与宗教内核完美融合的传世瑰宝。",[23,212,24,83,7,1431,81,185],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[50,216],{"id":1436,"slug":1437,"title":1438,"dynasty":1439,"author":1440,"museum":1441,"description":1442,"tags":1443,"thumbUrl":1444,"material":1445,"size":30,"collection":30,"collections":1446,"showCount":1415,"zanCount":150,"manualWeight":11,"mainColor":73},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","民国","徐悲鸿","中央美术学院美术馆","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[24,513,7,364,66,46,1439,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 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508年自杀。",[23,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75114233aa1d9a758e08438b517d7c9f.jpg",[],{"id":1594,"slug":1595,"title":1596,"dynasty":18,"author":1597,"museum":126,"description":1598,"tags":1599,"thumbUrl":1600,"material":1601,"size":1602,"collection":50,"collections":1603,"showCount":1564,"zanCount":150,"manualWeight":11,"mainColor":54},221072,"shi-ting-ji-qian-qiu-ting-ji-guo-yan-jin-221072","石亭记千秋亭记","郭延瑾","千秋亭原名石亭，唐开元十八年铜山县尉崔文邕创建，开元十九年改称千秋亭，诗序可证。清末康有为曾得《千秋亭记》拓本，秘不示人，潜心摩习。古文字学家、金石篆刻家、书法家商承柞先生认为：“康氏得此拓本后，视为至宝，刻意摹写，并在该刻笔势的基础上，予以进一步的夸张，遂成‘康体’”。今亭和刻石皆废，仅拓片传世。",[23,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[50,216],{"id":1605,"slug":1606,"title":1607,"dynasty":18,"author":500,"museum":126,"description":1608,"tags":1609,"thumbUrl":1610,"material":30,"size":30,"collection":30,"collections":1611,"showCount":1612,"zanCount":11,"manualWeight":11,"mainColor":54},227082,"da-tang-san-zang-sheng-jiao-xu-ji-chu-sui-liang-227082","大唐三藏圣教序記","《雁塔圣教序》亦称《慈恩寺圣教序》，唐代褚遂良书。楷书，共1463字。公元653年（唐永徽四年）立。共二石，均在陕西西安慈恩寺大雁塔下。前石为序，全称《大唐三藏圣教序》，唐太宗李世民撰文，褚遂良书，21行，行42字。后石为记，全称《大唐皇帝述三藏圣教记》，唐高宗李治撰文，褚遂良书。\n\n《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[406,24,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F590671c62213d188de0158f9b168790a.jpg",[],33,{"id":1614,"slug":1615,"title":1616,"dynasty":59,"author":1230,"museum":41,"description":1231,"tags":1617,"thumbUrl":1618,"material":68,"size":1234,"collection":30,"collections":1619,"showCount":1612,"zanCount":11,"manualWeight":11,"mainColor":73},221233,"dao-fu-zan-juan-quan-juan-di-er-duan-fan-zhong-yan-221233","道服赞卷全卷-第二段",[23,24,7,364,81,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdbf0e7b99ee7c1648bc77cfec7a2ee.jpg",[],{"id":1621,"slug":1622,"title":1623,"dynasty":59,"author":1624,"museum":126,"description":1625,"tags":1626,"thumbUrl":1627,"material":135,"size":136,"collection":30,"collections":1628,"showCount":1629,"zanCount":150,"manualWeight":11,"mainColor":73},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","梁楷","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,81,96,44,949,1147,649,161,101,24,7,83,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":1631,"slug":1632,"title":1633,"dynasty":1200,"author":658,"museum":126,"description":1634,"tags":1635,"thumbUrl":1636,"material":135,"size":136,"collection":30,"collections":1637,"showCount":1629,"zanCount":11,"manualWeight":11,"mainColor":73},290630,"bao-ta-xin-jing-shou-gao-yi-ming-290630","宝塔心经手稿","这帧残页纸色泛黄古旧，虫蛀圆痕带着岁月浸蚀的痕迹，自带沉静古韵。字迹取唐人写经笔意，中锋行笔瘦挺端雅，墨色沉凝质朴，经文排布错落雅致，内敛肃穆的禅意藏于笔锋起落之间。残损的形制非但未减风采，反而赋予其残缺古雅之美，仿佛能窥见抄经时，执笔人沉心敛神的虔诚姿态，笔墨晕染着佛门特有的静谧安然，将千年时光里的禅意温度封存在纸页之上。",[24,83,212,7,492,185,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668384200549e969b5da74717b6060c.jpg",[],{"id":1639,"slug":1640,"title":1641,"dynasty":837,"author":658,"museum":126,"description":1642,"tags":1643,"thumbUrl":1648,"material":135,"size":136,"collection":30,"collections":1649,"showCount":1629,"zanCount":150,"manualWeight":11,"mainColor":73},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[23,25,24,7,407,1103,1644,1645,1646,1647],"龟形","南北朝风格","文字","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg",[],{"id":1651,"slug":1652,"title":1653,"dynasty":155,"author":1654,"museum":126,"description":1655,"tags":1656,"thumbUrl":1657,"material":135,"size":136,"collection":30,"collections":1658,"showCount":1629,"zanCount":11,"manualWeight":11,"mainColor":73},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,44,81,24,160,7,46,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":1660,"slug":1661,"title":1662,"dynasty":1200,"author":658,"museum":1111,"description":1663,"tags":1664,"thumbUrl":1665,"material":68,"size":1666,"collection":50,"collections":1667,"showCount":1629,"zanCount":218,"manualWeight":11,"mainColor":73},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","该卷经文用笔犀利\n行笔淋漓尽致",[23,83,24,7,81,212,185,66,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[50],{"id":1669,"slug":1670,"title":1671,"dynasty":155,"author":1672,"museum":126,"description":1673,"tags":1674,"thumbUrl":1675,"material":135,"size":136,"collection":30,"collections":1676,"showCount":1677,"zanCount":150,"manualWeight":11,"mainColor":73},223692,"lin-jiu-cheng-gong-yao-meng-qi-223692","临九成宫","姚孟起","字凤生，一作凤笙，吴县（江苏苏州）贡生。以正书名，正书宗欧阳询，尝临九成宫醴泉铭逼肖。隶书略仿陈鸿寿。兼治印，得蒋仁秀劲之气。偶作画，古拙如金农。",[23,24,7,160,26,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed869c5c6cdfb78b48841d0312bddbd.jpg",[],30,{"id":1679,"slug":1680,"title":1681,"dynasty":18,"author":658,"museum":126,"description":1682,"tags":1683,"thumbUrl":1685,"material":30,"size":30,"collection":50,"collections":1686,"showCount":1677,"zanCount":11,"manualWeight":11,"mainColor":54},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[23,406,83,7,24,81,212,185,1684,546],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[50],{"id":1688,"slug":1689,"title":1690,"dynasty":18,"author":658,"museum":126,"description":1691,"tags":1692,"thumbUrl":1693,"material":30,"size":30,"collection":50,"collections":1694,"showCount":1677,"zanCount":150,"manualWeight":11,"mainColor":73},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,96,44,24,83,7,212,185,406,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[50],{"id":1696,"slug":1697,"title":1513,"dynasty":1200,"author":500,"museum":20,"description":1698,"tags":1699,"thumbUrl":1700,"material":135,"size":136,"collection":30,"collections":1701,"showCount":1702,"zanCount":150,"manualWeight":11,"mainColor":34},287769,"yue-yi-lun-chu-sui-liang-287769","此作为泥金小楷，笔致灵动秀雅，点画温润舒展，结体方正宽博又暗含飘逸之姿，尽显初唐楷书尚法又不失气韵的特质。书写时笔势牵丝映带精妙细微，可见运笔流畅自然，既承袭魏晋小楷的古雅意趣，又融褚书标志性的空灵雅致，刚柔并济。黑底泥金相衬，更衬出字迹华贵隽秀，字里行间尽显书写者精湛笔力与从容心境，将文本质感与书法美学相融，是小楷上乘之作，尽显楷书清逸端雅之美。",[24,44,129,7,80,26,1507,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154d4cc6c303c805afe17c6da45b8e72.jpg",[],29,{"id":1704,"slug":1705,"title":1706,"dynasty":155,"author":1707,"museum":126,"description":1708,"tags":1709,"thumbUrl":1710,"material":135,"size":136,"collection":30,"collections":1711,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":73},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[96,129,45,99,97,903,100,363,66,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":1713,"slug":1714,"title":1715,"dynasty":59,"author":733,"museum":209,"description":1716,"tags":1717,"thumbUrl":1718,"material":68,"size":1719,"collection":30,"collections":1720,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":54},232918,"hua-yan-jing-can-ce-zhang-ji-zhi-232918","华严经 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559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”。",[24,7,83,1147,1827,44,185,26,66,81],"老子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aba8b7779fcd5b62ea030585851adf.jpg",[],{"id":1831,"slug":1832,"title":1833,"dynasty":194,"author":1158,"museum":126,"description":1825,"tags":1834,"thumbUrl":1835,"material":135,"size":136,"collection":30,"collections":1836,"showCount":1805,"zanCount":11,"manualWeight":11,"mainColor":73},287525,"cao-tang-shi-zhi-ce-wen-zheng-ming-287525","草堂十志册",[24,7,45,66,26,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920ec4e1bd8837f2358f810d9f559d.jpg",[],{"id":1838,"slug":1839,"title":1840,"dynasty":155,"author":682,"museum":41,"description":1841,"tags":1842,"thumbUrl":1843,"material":1412,"size":1844,"collection":50,"collections":1845,"showCount":1805,"zanCount":11,"manualWeight":11,"mainColor":73},240916,"xin-cheng-song-zhou-zhao-zhi-qian-240916","心成颂轴","释文：\n迴转右肩。长舒左足。峻拔一角。潜虚半腹。间合间开。隔仰隔覆。迴互留放。变换垂缩。繁则减除。疏当补续，分若抵背，合如对目。孤单必大。重病乃促。以侧映斜。以斜附曲。覃精一字，功归自得盈虚。统视连行,妙在相承起伏。 隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[7,24,475,66,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纵128.5厘米，横36厘米",[50],{"id":1847,"slug":1848,"title":1849,"dynasty":180,"author":181,"museum":157,"description":1850,"tags":1851,"thumbUrl":1852,"material":625,"size":1853,"collection":216,"collections":1854,"showCount":1805,"zanCount":11,"manualWeight":11,"mainColor":54},227053,"shu-yue-yi-lun-01-wang-xi-zhi-227053","书乐毅论01","乐毅论是三国时期魏夏侯玄所撰，论述燕国名将乐毅之事。唐朝初年，王羲之书《乐毅论》入藏内府，经褚遂良鉴定为真迹，列为正书第一，与《兰亭序》并列为唐太宗最珍贵的书迹，并摹拓分赐大臣，故一般人罕见其貌。此刻选自《宋拓越州刻晋唐小楷册》，笔画精妙，字势逸宕，雍容典雅，为传世《乐毅论》之著名版本。",[24,44,7,25,26,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7462174768726bbc21221fc292f712ee.jpg","25.3×12.9厘米",[216],{"id":1856,"slug":1857,"title":1858,"dynasty":39,"author":1789,"museum":1035,"description":1859,"tags":1860,"thumbUrl":1861,"material":1862,"size":1863,"collection":50,"collections":1864,"showCount":1805,"zanCount":241,"manualWeight":11,"mainColor":54},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[23,24,7,81,66,82,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","纸本墨迹","25cm*268cm",[50],{"id":1866,"slug":1867,"title":1868,"dynasty":18,"author":658,"museum":126,"description":1869,"tags":1870,"thumbUrl":1872,"material":30,"size":30,"collection":50,"collections":1873,"showCount":1805,"zanCount":150,"manualWeight":11,"mainColor":54},221118,"fo-jing-dian-lan-ran-se-zhi-yi-ming-221118","佛经靛蓝染色纸","靛蓝染纸褪去了初时鲜亮，晕出温柔褐调，纸面洒金星子点缀，暗生华贵。残卷唐楷法度端严，笔锋筋骨依旧清晰，墨色沉实沉静，带着写经特有的庄敬气韵。\n\n青褐织锦的莲纹缠枝古雅雍容，将残妥帖承托，织纹与染纸旧色相映成趣。边角虽被岁月磨蚀缺损，却如时光镌刻的印记，让纸面的虔诚笔墨更添厚重。断句残卷里，依旧藏着盛唐奉经的沉静端方，染纸余色与写经墨痕交织，化作跨越年岁的梵音回响，静静诉说旧时光里的信仰温度。",[23,83,24,7,492,212,185,1871],"靛蓝染色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aab4e82e17a524b405fa65438116bd.jpg",[50],{"id":1875,"slug":1876,"title":1877,"dynasty":18,"author":19,"museum":41,"description":144,"tags":1878,"thumbUrl":1879,"material":68,"size":147,"collection":30,"collections":1880,"showCount":1805,"zanCount":11,"manualWeight":11,"mainColor":34},214428,"da-tang-zhong-xing-song-shang-ce-4-yan-zhen-qing-214428","大唐中兴颂上册-4",[406,24,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62f20fd30a867221a406a600d7e1b57.jpg",[],{"id":1882,"slug":1883,"title":1884,"dynasty":59,"author":60,"museum":126,"description":1885,"tags":1886,"thumbUrl":1888,"material":135,"size":136,"collection":30,"collections":1889,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":54},288547,"la-mei-shan-qin-tu-zhao-ji-288547","腊梅山禽图","《腊梅山禽图》其绘有一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁，一只鸟扭首顾望枝上的梅花，另一只缩颈微昂首前望，俱皆生动传神。\n画家笔墨细致。兰草、梅树、花朵的轮廓，都用工细线条勾勒，枝干的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。",[96,903,99,1386,1887,100,24,7,66,97],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968f64653325930c3b4a31126621e82a.jpg",[],25,{"id":1892,"slug":1893,"title":1894,"dynasty":39,"author":40,"museum":126,"description":1810,"tags":1895,"thumbUrl":1896,"material":135,"size":136,"collection":30,"collections":1897,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":54},240930,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-yi-zhao-meng-fu-240930","赵孟頖妙法莲花经册卷一",[44,24,83,45,212,46,364,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72472614d6d8c0cb59dc2126a72dc92.jpg",[],{"id":1899,"slug":1900,"title":1901,"dynasty":39,"author":1902,"museum":659,"description":1903,"tags":1904,"thumbUrl":1919,"material":68,"size":1920,"collection":30,"collections":1921,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":73},232639,"shu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知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,96,1905,1906,1907,1908,1909,1910,1911,1912,1913,697,1914,1915,1916,1917,1918,7,24,66,523],"山水画","文人画","青绿设色","茅屋","修竹","坡石","溪水","小桥","林木","水渚","仙居","静谧","荒寒","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":1923,"slug":1924,"title":1925,"dynasty":194,"author":1926,"museum":1927,"description":1928,"tags":1929,"thumbUrl":1932,"material":30,"size":30,"collection":30,"collections":1933,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":54},222040,"tai-shan-ba-jing-shi-ke-dai-jing-222040","泰山八景诗刻","戴经","哈佛艺术博物馆","《泰山八景》正德己卯（1519）岁秋八月上旬，刻于水玉堂中。泰安州知州嘉兴戴经补作。一曰苍茫浩宇望朝暾，涌壑推峰骇若喷。一气鸿蒙沧海接，两间砥柱岱宗尊。神龟幻影占霖雨，老蜃含精散彩缊。拄笏也知看未了，万年留此镇昆仑。二曰徂徕犹种鲁人松，落日苍苍万古风。龙挟云还岩石润，蟾随霞上海天空。也知虎豹潜林外，自喜芝兰满谷中。两眼薄书真俗吏，山灵不语笑吴侬。三曰汶水汤汤一脉深，巡崖转壑下千寻。落虹万古垂流影，飞鹊三秋驾汉心。荷担长途谁稳坐，垂纶荒野几高吟。舆梁莫作寻常事，濡足褰裳正不禁。四曰明堂何处草芊芊，落日荒烟万井田。四国会同周盛日，九重巡幸汉丰年。天开形胜犹今古，世握纲维本后先。却笑北鸡鸣武曌，圣王礼乐可容专。五曰四郊无处不秋成，禾黍龟阴独擅名。嬴博不终齐国好，郓欢犹复鲁人争。中都今古谁称宰，夹谷乾坤几会盟。老我专诚徒碌碌，日星圣道正辉明。六曰何年古洞有潜龙，平地风雷起太空。山岳晦冥随上下，江湖倾倒自流通。借车曾讶朱门宿，分砚真惊白书封。满眼病禾兴宋揠，官输常在雨声中。七曰野鹤孤云自往还，空名千载信朝班。奋髯特立云霄远，偃盖长留岁月闲。岱岳托根真峻地，赢秦承命却惭颜。四时秀色何曾改，桃李春风未许攀。八曰东封玉辇不闻音，柏树犹能慰访寻。一代精神看翠霭，千年物色在苍林。水帘洞上风偏急，御帐亭边雪正深。到底凌寒谁可共，老松郁郁是同心。志书泰山八景目存西诗选，经于政暇补之如右。",[23,25,24,7,1930,360,407,1931],"泰山","古迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0e0ed12eef1dd4aa5067332ecf6fca.jpg",[],{"id":1935,"slug":1936,"title":1937,"dynasty":18,"author":500,"museum":126,"description":1938,"tags":1939,"thumbUrl":1940,"material":28,"size":30,"collection":30,"collections":1941,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":54},214608,"fan-xing-bei-chu-sui-liang-214608","樊兴碑","这是一幅清代早期的道光拓片。出字六行的下半部分没有损坏，米字二十九行的右半部分没有损坏。这块石头现存于陕西的三原城隍庙。一幅原汁原味的清代道光地形图。唐，永徽元年（650）。 朱遂良撰。以朱遂良的风格题写。",[406,7,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f74b05c2a9095606b2fc650169bafab.jpg",[],{"id":1943,"slug":1944,"title":1945,"dynasty":59,"author":1946,"museum":126,"description":1947,"tags":1948,"thumbUrl":1951,"material":135,"size":136,"collection":30,"collections":1952,"showCount":1953,"zanCount":11,"manualWeight":11,"mainColor":73},289775,"han-lin-yuan-niao-tu-hui-chong-289775","寒林鸳鸟图","惠崇","北宋以诗著名的僧侣有9人，今存其诗作《北宋九僧诗》，其中惠崇尤多佳句，为九位诗僧中最杰出的一个。宰相寇准请惠崇到自家花园赛诗，抓阉分题。惠崇拈得“池上鹭月”的题目，于是绕行池径，默默地苦心思索，忽然用两指指向天空，微笑地说：“已得之，已得之，此诗功在明字，凡五押之不倒，今得之。”随即咏道：“曝翎沙日暖，引步岛风清。照水千寻迥，栖烟一点明。”(诗题《春日寇宫赞池上》)景色明灭虚旷，可谓一绝。出于诗僧的超尘感受，他到处云游，把绚丽江山深罹于胸中，故有冰雪松霞之咏，如“雪列僧扫石，风劲鹰归松”，“河分岗势断，春入烧痕青”等飘逸神韵、清远自然的诗句。他从自己的诗作选出得心可喜者百句，一一作画，每句一图，将其刻石立于长安。",[129,96,44,45,97,903,1949,1082,1950,100,24,7,66],"寒林","鸳鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef927a687539432fad1ecafc2e9bb0c0.jpg",[],24,{"id":1955,"slug":1956,"title":1957,"dynasty":155,"author":1958,"museum":126,"description":1959,"tags":1960,"thumbUrl":1961,"material":135,"size":136,"collection":30,"collections":1962,"showCount":1953,"zanCount":11,"manualWeight":11,"mainColor":54},287421,"shu-fa-ce-cheng-qin-wang-287421","书法册","成亲王","和硕成亲王，清朝世袭亲王。乾隆五十四年（1789年），乾隆帝皇十一子永瑆封亲王，封号成，死后谥号哲，未得世袭罔替，每次袭封需递降一级，一共传了七代七位。",[24,7,45,25,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6630baf72f7e05d4dba1569d183ff8af.jpg",[],{"id":1964,"slug":1965,"title":1966,"dynasty":1569,"author":1967,"museum":126,"description":1968,"tags":1969,"thumbUrl":1971,"material":135,"size":136,"collection":30,"collections":1972,"showCount":1953,"zanCount":11,"manualWeight":11,"mainColor":73},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,129,96,44,81,903,99,1115,1970,24,364,7,66],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":59,"author":1189,"museum":126,"description":1977,"tags":1978,"thumbUrl":1980,"material":135,"size":136,"collection":30,"collections":1981,"showCount":1953,"zanCount":150,"manualWeight":11,"mainColor":34},283635,"lin-lan-ting-xu-zhao-gou-283635","临兰亭序","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[23,129,44,24,25,26,160,7,66,1979],"兰亭序","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":1983,"slug":1984,"title":1985,"dynasty":837,"author":658,"museum":126,"description":1986,"tags":1987,"thumbUrl":1988,"material":30,"size":30,"collection":30,"collections":1989,"showCount":1953,"zanCount":11,"manualWeight":11,"mainColor":54},227069,"bei-wei-zhang-xuan-mu-zhi-ming-yi-ming-227069","北魏张玄墓志铭","张玄字黑女，清代为熙帝讳，一般称《张黑（he）女（ru）墓志》。北魏普泰元年（531年）十月刻。清包世臣跋：“此帖骏利如《隽修罗》，圆折如《朱君山》、疏朗如《张猛龙》、静密如《敬显隽》。”何绍基跋：“化篆、分入楷、遂尔无种不妙，无妙不臻，然遒原精古，未有比肩《黑女》者。”此志集雄健、轻灵秀逸、含蓄为一体，其艺术水平之高，鲜有匹敌。代表北魏善墓志的最高成就。",[24,25,7,1027,1463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4434a7534fd7721b201f32a06dda2ff6.jpg",[],{"id":1991,"slug":1992,"title":1993,"dynasty":1200,"author":658,"museum":1340,"description":1994,"tags":1995,"thumbUrl":1996,"material":135,"size":136,"collection":30,"collections":1997,"showCount":1953,"zanCount":11,"manualWeight":11,"mainColor":54},226509,"fu-shuo-sui-qiu-ji-de-da-zi-zai-tuo-luo-ni-shen-zhou-jing-yi-ming-226509","佛说随求即得大自在陀罗尼神咒经","敦煌版大自在陀罗尼神咒经，此部陀罗尼神咒经，为敦煌遗经古本，是非常殊胜的一部咒经。 首绘曼陀罗一幅，次经文，有变相图案，又八菩萨带经文，最后八菩萨详图，均为手绘。总长340厘米，宽30厘米。此经有大量手绘的佛像图案，当属国宝级藏品，原先为日本收藏家中村不折于中国敦煌带回日本，藏于其私人博物馆；现已不存，为罕见的敦煌写经中的绘图变相珍品，对研究古典佛学艺术有重要的参考价值。此部经书曾于20世纪40年代在日本发行过珂珞版。",[212,83,24,97,7,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fedf0383e9598f1d84648d58651650b.jpg",[],{"id":1999,"slug":2000,"title":2001,"dynasty":1200,"author":658,"museum":126,"description":2002,"tags":2003,"thumbUrl":2004,"material":30,"size":30,"collection":50,"collections":2005,"showCount":1953,"zanCount":150,"manualWeight":11,"mainColor":73},221048,"ji-yi-qie-fu-de-san-mei-jing-juan-yi-ming-221048","集一切福德三昧经卷","【涅槃部】 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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,24,44,7,66,1561,2022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013fd5068c52e572d318b1fc2a8492a.jpg",[],{"id":2028,"slug":2029,"title":2030,"dynasty":39,"author":2031,"museum":126,"description":2032,"tags":2033,"thumbUrl":2034,"material":135,"size":136,"collection":30,"collections":2035,"showCount":109,"zanCount":150,"manualWeight":11,"mainColor":73},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,96,81,44,98,99,97,161,101,1397,2015,24,364,235,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":2037,"slug":2038,"title":2039,"dynasty":155,"author":880,"museum":126,"description":2040,"tags":2041,"thumbUrl":2042,"material":135,"size":136,"collection":30,"collections":2043,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":73},230245,"qi-yan-lian-hong-yi-fa-shi-230245","七言联","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。",[23,24,513,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08340d768183cc07f8beb0b3f1626165.jpg",[],{"id":2045,"slug":2046,"title":2047,"dynasty":18,"author":658,"museum":126,"description":2048,"tags":2049,"thumbUrl":2053,"material":30,"size":30,"collection":30,"collections":2054,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":34},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[406,212,83,7,99,2050,360,161,2051,2052],"描金","大象","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],{"id":2056,"slug":2057,"title":2058,"dynasty":18,"author":658,"museum":126,"description":2059,"tags":2060,"thumbUrl":2061,"material":30,"size":30,"collection":50,"collections":2062,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":54},221116,"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[23,24,83,212,185,7,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[50],{"id":2064,"slug":2065,"title":2066,"dynasty":194,"author":2067,"museum":157,"description":2068,"tags":2069,"thumbUrl":2070,"material":68,"size":2071,"collection":50,"collections":2072,"showCount":109,"zanCount":150,"manualWeight":11,"mainColor":34},220925,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","董其昌","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[23,24,44,96,475,160,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[50],{"id":2074,"slug":2075,"title":2076,"dynasty":59,"author":2077,"museum":126,"description":2078,"tags":2079,"thumbUrl":2081,"material":135,"size":136,"collection":30,"collections":2082,"showCount":2083,"zanCount":150,"manualWeight":11,"mainColor":54},289561,"xiao-jing-tu-qing-da-fu-zhang-di-si-ma-he-zhi-289561","孝经图-卿大夫章第四","马和之","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[129,96,44,45,97,161,101,98,24,7,2080],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],22,{"id":2085,"slug":2086,"title":2087,"dynasty":2088,"author":658,"museum":126,"description":2089,"tags":2090,"thumbUrl":2093,"material":135,"size":136,"collection":30,"collections":2094,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":34},288150,"yang-da-yan-zao-xiang-ji-ke-ben-yi-ming-288150","杨大眼造像记 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此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[23,44,160,7,24,26,81,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[50],{"id":2130,"slug":2131,"title":2132,"dynasty":18,"author":2133,"museum":126,"description":2134,"tags":2135,"thumbUrl":2136,"material":30,"size":30,"collection":30,"collections":2137,"showCount":2083,"zanCount":150,"manualWeight":11,"mainColor":73},230910,"zhu-ju-chuan-gao-shen-xu-hao-230910","朱巨川告身","徐浩","徐浩（7—782），字季海，越州会稽人。\n徐浩出生于书法世家，其祖父徐师道，父亲 ，都擅长书法。\n徐浩出生于会稽，因此后人称他为“会稽”、“徐会稽”，又因他在唐代宗时任吏部侍郎，又称作“徐吏部”，他的父亲徐峤，人称“大徐”，而又以“小徐”指代徐浩。\n徐浩《古迹记》中说他祖父“真、行、草，皆名冠古今，无与为比”，是与事实相符的。\n他生活在祖、父辈都善书的环境中，得到家学传授，其书法精能，也是必然的。\n《宣和书谱》评之曰：“师道已精于书，峤之复以善书称，且以法授其子浩，故浩又杰然为一家法。\n自师道到浩盖三世矣，是亦熟于翰墨之场者也。\n” 谒禹庙唐- 亩浍敷四海，川源涤九州。\n既膺九命锡，乃建洪范畴。\n鼎革固天启，运兴匪人谋。\n肇开宅土业，永庇昏垫忧。\n山足灵庙在，门前清镜流。\n象筵陈玉帛，容卫俨戈矛。\n探穴图书朽，卑宫堂殿修。\n梅梁今不坏，松祏古仍留。\n负责故乡近，朅来申俎羞。\n为鱼知造化，叹凤仰徽猷。\n不复闻夏乐，唯馀奏楚幽。\n婆娑非舞羽，镗鞳异鸣球。\n盛德吾无间，高功谁与俦。\n灾淫破凶慝，祚圣拥神休。\n出谷莺初语，空山猿独愁。\n春晖生草树，柳色暖汀州。\n恩贷题舆重，荣殊衣锦游。\n宦情同械系，生理任桴浮。\n地极临沧海，天遥过斗牛。\n精诚如可谅，他日寄冥搜。\n唐玄宗时，宰相张说见徐浩所作《喜雨》、《五色鸽》两赋，十分器重，荐为丽正殿校理，后改监察御史里行，出为河阳令，又任都官郎中，岭南选补史等职。\n肃宗即位，由襄州刺史召为中书舍人。\n徐浩因擅书法，文字富丽，当时四方诏令以至玄宗传位诏册，多出其手。\n肃宗爱其才，加兼尚书右丞。\n后为国子祭酒，因事贬为庐州长史。\n代宗即位，征拜中书舍人，集贤殿学士，迁工部侍郎，封会稽县公。\n后出为岭南节度使，后又召为吏部侍郎，主持官吏选拔举荐工作，因包庇妾弟冒选长安尉，被御史弹劾，贬为明州别驾。\n德宗初年，又召为彭王傅，进爵郡公。\n年八十去世，赠太子少师，谥“定”。\n徐浩传世书迹有隶书《嵩阳观圣德感应颂》、《张庭 墓志》 （1977年伊川出土），楷书《朱巨川告身》 （墨迹本）、《大征禅师碑》、《虢国公遗像记》、《 》、《宝林寺诗帖》、《不空和尚碑》，近些年又新出土徐浩书写的楷书墓志碑：《李岘妻墓志》、《李岘墓志》、《陈尚仙墓志》。\n撰有《书法论》一篇。\n徐浩所处的时代，正是唐朝由极盛渐入衰弱的时期，尤其在开元天宝年间，虽然时局动荡，但书家辈出，涌现了张旭、颜真卿、褚庭诲、张少悌、韩泽木等名家。\n徐浩比颜真卿年长六岁，早逝三年，二人曾过从甚密。\n二人对书法亦长时间有过切磋，所以二人书法风格亦相近。\n现在留下的徐浩的书迹，最早的是他岁时所写的《陈尚仙墓志》，于2年春出土于河南洛阳红山乡，该志全称《唐御史大夫张公故夫人陈氏墓志铭并序》，由唐代大诗人“朝议郎行尚书司门袁外郎张鼎”撰文，“右拾遗徐浩书”。\n墓主的丈夫张守 ，是唐代名将。\n该墓志史料价值大，足以补史、证史，志高72厘米，宽7厘米，青石质。\n志文25行，满行25字，楷书，有界格。\n这是目前所能见到的徐浩最早的书法作品。\n这通墓志铭书法清雅秀逸，点画净洁爽朗，笔势流畅，顾盼生姿，可以见出王羲之一脉之流绪，与虞世南、褚遂良的书法韵味神态相类，字画瘦硬，骨力遒劲。\n结体宽博，平正刚健，气韵自足，婉美华丽。\n从这篇墓志中，可以看出徐浩早年书法宗逸少之飘逸，兼及伯施之秀润，善登之平正与瘦劲。\n在西安市长安区郭杜镇2年出土的另一方墓志《李岘妻独孤峻墓志铭》，刊葬于天宝十三年（754），志石边长72.5厘米，志文三十一行，满行三十一字，楷书，李岘撰文，徐浩书丹。\n长安博物馆收藏。\n夫妻两通墓志现均已纳入《中国古代珍稀碑帖丛书》出版。\n墓主独孤峻，河南人，15岁嫁给梁国公李岘（后为肃宗朝宰相），封南华县君，婚后二十年即天宝十二载病逝于李岘当时任职的魏郡，享年9岁。\n徐浩书此碑时年52岁，其书法风格更饶灵逸气息和圆和姿态。\n与褚遂良书法结体相类，字形宽疏，横画细长，撇捺舒展，“锋藏画心，力出字外”（元陶宗仪语），正如徐浩书四十二幅屏中言：“朔风动秋草，边马有归心。\n”给人一种苍茫辽阔之感受。\n《李岘墓志》全称《唐故光禄大夫检校兵部尚书兼衢州刺史充本州团练使赠太子少师上柱国梁国公李岘墓志铭》，与《李岘妻墓志》同出土于西安市长安区郭杜镇，志为正方形青石制成，边长91厘米，厚14厘米，共2行，满行字，共计15字，字体楷书。\n墓主人李岘字延鉴，其曾祖为唐太宗李世民之第三子吴王恪。\n此碑书风与颜真卿《多宝塔》笔意相近。\n徐浩长颜真卿六岁，徐浩书此书时年64岁，书法已臻佳境，点画刚劲，结字宽雄，笔势舒展爽利，谦谦如君子乎，蕴藉却又自显生动、流畅，非常耐得起咀嚼、玩味，似在颜真卿《多宝塔》格调之上。\n徐浩在68岁时所书《大德大证禅师碑》以褚遂良的结体为法，形体稍见疏瘦，楷法中规入矩，遒媚劲健蕴藉，但略显板滞。\n此碑石现存河南登封嵩岳寺。\n碑高八尺，广尺9寸。\n计25行，行52字，篆额行9字。\n碑文由王缙所撰。\n此碑残存6余字，能辨认者有余字。\n写于同时期的留存墨迹《朱巨川告身》因无徐浩署名而有争议，然有标签，为清代梁清题作“徐季海书朱巨川告”，由徐浩书于唐代宗大历三年（768），书体以楷书为主而参用行书笔法，所谓疏欲风神，密欲老气，两者兼而有之，书体整肃，用笔多变，平正婉转，体现出徐浩晚年书作已达炉火纯青。\n徐浩78岁所书《不空和尚碑》 （又名《广智三藏和尚碑》）现存西安碑林，严郢撰文，楷书，计24行，行48字。\n徐浩老年所书，是他楷书典范作品，体现了中唐前期楷体书风经过变革之后的楷法用笔特点。\n此碑书体厚重丰腴，含蓄温润，用笔圆劲深厚，锋藏画心，力出字外，笔画内中裹筋，有雍容大度之气象。\n结体老劲而乏清逸。\n《书史会要》曰：“盖浩书锋画心，力出字外，得意处往往似王羲之，其妙实在楷法也。\n” 《谒禹庙诗帖》拓本，兰亭续帖凡16行，刊于日本《中国书道全集》 （四），《宝林寺诗帖》拓本，凡12行，兰亭续帖，上海博物馆藏，刊于日本 《中国书道全集》（四）。\n这二帧拓本刻帖均是小楷，法度谨严，一丝不苟，结体疏朗，撇、捺、走字底的点画有飘逸之风致，轻盈灵动，与王献之《玉版十三行》风格相近。\n徐浩的书迹据宋赵明诚《金石录》记载有近种，其中楷书12种，行书7种，隶书1种。\n留存于世的隶书代表作品有《嵩阳观纪圣德感应颂》，天宝三年（744）徐浩41岁时所书，李林甫撰文，有文字25行，行5字。\n《张廷 墓志》，天宝五年（746）徐浩4岁时撰文并书，碑文计4行，行7字。\n唐代的楷书因初唐有欧阳询、虞世南、褚遂良、薛稷，中唐有颜真卿、徐浩，晚唐时有柳公权，达到了中国书法楷书的顶峰，但隶书至汉代则已登峰造极。\n唐代隶书比之汉隶则大为逊色。\n明代赵宦光评唐隶“视汉似古而体稍不雅”，清钱泳则认为“别体杂出，有意圭角，擅用挑踢”。\n徐浩的隶书是从汉碑中取法，然又有创新，《嵩阳观纪圣德感应颂碑》笔法十分遒丽，姿态横生，与唐时隶书碑版有所不同，与汉 《娄寿》 碑、《韩仁铭》碑风格相类，清圆疏古，字形扁平，结构紧凑，波画飘逸，给人清劲秀雅之感，也许受唐代时风的影响，有的点画乏篆籀笔意而多用楷法，用笔提按顿挫轻重缓疾的变化也不够，就整体而论，还是中锋圆笔，沉着稳健，有一种雄阔气势。\n《张廷 墓志》笔画更有古雅之态，点画略呈瘦削之状，字势奇崛而有神采。\n而且有用笔风格多变，似更有奇趣。\n因为徐浩隶书碑多，清王澍《虚舟题跋》评曰：“唐人隶书之盛无如季海，隶书之工也无如季海。\n” 有唐一代，越中贡献了三位影响中国书法发展的大家，他们是初唐的虞世南、贺知章，中唐的徐浩。\n三位书法家都长寿，当时他们写下的书法作品也多，影响深远。\n他们留下的书迹为世世代代的中国人所珍藏、学习。\n他们的书法受到后代书法家的很高评价。\n宋朱长文《续书断》中评论徐浩“受书法于父。\n少而清劲，随肩褚、薛；晚益老重，潜精羲、献。\n其正书有可谓妙之又妙也，八分、真、行皆入能。\n尝论书云：鹰隼之彩而翰飞戾天者，骨劲而气猛也； 翟备色而翱翔百步者，肉丰而力沉也。\n若藻曜而高翔，书之凤凰矣。\n故浩之为书，识锐于内，振华于外，有君子之器焉。\n尝书四十二幅屏，八体具备，其朔风动秋草，边马有归心十数字，草隶相参，皆为精绝。\n识者评云：怒猊抉石，渴骥奔泉。\n尤为司空图所宝爱。\n”黄庭坚也认为“唐自欧虞后能备八法者，独徐会稽与颜太师耳。\n然会稽多肉，颜师多骨”，“季海暮年乃更摆脱王氏规模，自成一家”（《山谷题跋》）。\n然而米芾却说徐浩“晚年力过，更无气骨”，清冯班《钝吟书要》则认为米芾所言见解偏颇，说“季海筋在画中，晚年有一种渴骥奔泉之势，老极，所以熟而不俗”。\n古人对徐浩书法的评论见仁见智，若从书法史的发展来看，唐初的几位楷书大家已立唐法，到中唐，书体继续求变，希望突破二王，有所变化，探索一种在法度中寻自由抒情的方式。\n徐浩的书法体现出了这种努力，因此中唐的楷书大都仿效之。\n徐浩的书法可以说是中唐的一面旗帜。",[7,24,66,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017762d93cc0369c285afeda6809bbef.jpg",[],{"id":2139,"slug":2140,"title":2141,"dynasty":194,"author":1079,"museum":946,"description":2142,"tags":2143,"thumbUrl":2148,"material":30,"size":30,"collection":30,"collections":2149,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":73},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,96,44,81,360,97,46,364,7,66,523,2144,2145,198,1275,2146,2147],"山","水","岩石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":2151,"slug":2152,"title":2153,"dynasty":837,"author":658,"museum":126,"description":2154,"tags":2155,"thumbUrl":2156,"material":135,"size":136,"collection":30,"collections":2157,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":54},226533,"tian-bao-zao-xiang-ti-ji-yi-ming-226533","天保造像题记","此拓原石传近年出土于河南许昌，北齐天保五年（公元554年）造。石高三十五厘米、宽四十七厘米，造像左侧有残损，题记在其右侧，共十六行存二百零八字。题记文词尔雅、书法优美，造像更有一种残缺的美感，确为佳品。",[23,24,25,7,212,1463,1646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fa44fe4d45cc94e2cfe0bbc41690c9.jpg",[],{"id":2159,"slug":2160,"title":2161,"dynasty":837,"author":658,"museum":126,"description":2162,"tags":2163,"thumbUrl":2164,"material":30,"size":30,"collection":216,"collections":2165,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":54},226527,"yuan-you-qi-feng-shi-mu-zhi-yi-ming-226527","元诱妻冯氏墓志","北魏景明四年（公元 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金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[96,44,475,364,7,24,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a85756ce60599f919baff7faf11598.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":1069,"author":658,"museum":126,"description":2246,"tags":2247,"thumbUrl":2248,"material":30,"size":30,"collection":50,"collections":2249,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":54},239683,"da-ji-jing-juan-yi-ming-239683","大集经卷","无款董孝赞大方等",[23,24,83,81,7,212,185,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205cba82e2836f633d25bd2be3a039c1.jpg",[50],{"id":2251,"slug":2252,"title":2253,"dynasty":837,"author":658,"museum":126,"description":1322,"tags":2254,"thumbUrl":2255,"material":135,"size":136,"collection":30,"collections":2256,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":54},226524,"yuan-ti-mu-zhi-yi-ming-226524","元悌墓志",[23,24,25,7,1463,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaf21ac401c5716799504fe752136d4.jpg",[],{"id":2258,"slug":2259,"title":2260,"dynasty":155,"author":880,"museum":126,"description":2261,"tags":2262,"thumbUrl":2263,"material":68,"size":30,"collection":30,"collections":2264,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":886},223264,"fu-shuo-wu-da-shi-jing-hong-yi-fa-shi-223264","佛说五大施经","《佛说五大施经》全文共154字，言五大施者即不杀生、不偷盗、不邪染、不妄语、不饮酒，若能做到即处天上或人间也得安隐乐。弘一法师晚年书法称「弘一体」，拙朴天真有如老僧入定，火气全无，平淡至极。正如他所言：「朽人之字所示者，平淡、恬静、冲逸之致也。」",[23,24,83,7,66,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0969ea3f16997017e0ce7c6a7fdf2c77.jpg",[],{"id":2266,"slug":2267,"title":2268,"dynasty":59,"author":733,"museum":734,"description":735,"tags":2269,"thumbUrl":2271,"material":68,"size":740,"collection":30,"collections":2272,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":54},221478,"da-de-ming-tie-dong-fu-si-bian-e-zhi-ke-zhang-ji-zhi-221478","大德名帖东福寺匾额知客",[23,24,7,2270],"匾额","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a2b333ddb4874bc06ecd505be14c44.jpg",[],{"id":2274,"slug":2275,"title":792,"dynasty":39,"author":40,"museum":126,"description":1810,"tags":2276,"thumbUrl":2277,"material":135,"size":136,"collection":30,"collections":2278,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},290411,"di-shi-dan-ba-bei-juan-zhao-meng-fu-290411",[23,44,81,24,7,212,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57bbccb3382f2a1aef57a3612a4080a.jpg",[],20,{"id":2281,"slug":2282,"title":2283,"dynasty":39,"author":40,"museum":126,"description":1810,"tags":2284,"thumbUrl":2285,"material":135,"size":136,"collection":30,"collections":2286,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":54},290100,"jin-ma-tu-zhao-meng-fu-290100","进马图",[129,96,44,97,99,161,950,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c0ea5d333793464874bbeb3f0f5efe.jpg",[],{"id":2288,"slug":2289,"title":2290,"dynasty":194,"author":1034,"museum":126,"description":2291,"tags":2292,"thumbUrl":2294,"material":135,"size":136,"collection":30,"collections":2295,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},287788,"you-bao-shan-ji-wang-chong-287788","游包山集","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。",[24,7,66,26,2293],"湖禅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5650476ff9836e39c2fe31122cf4e6c.jpg",[],{"id":2297,"slug":2298,"title":2299,"dynasty":155,"author":2300,"museum":41,"description":2301,"tags":2302,"thumbUrl":2303,"material":1412,"size":2304,"collection":50,"collections":2305,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},240453,"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","何绍基","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。",[513,24,7,66,546,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纵191.4厘米，横42.8厘米",[50],{"id":2307,"slug":2308,"title":2309,"dynasty":39,"author":40,"museum":41,"description":2310,"tags":2311,"thumbUrl":2312,"material":68,"size":2313,"collection":50,"collections":2314,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[23,44,24,81,364,7,46,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[50],{"id":2316,"slug":2317,"title":2318,"dynasty":18,"author":658,"museum":126,"description":2319,"tags":2320,"thumbUrl":2321,"material":1412,"size":2322,"collection":50,"collections":2323,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[23,129,44,81,7,160,24,26,66,83,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[50],{"id":2325,"slug":2326,"title":379,"dynasty":194,"author":1158,"museum":126,"description":2327,"tags":2328,"thumbUrl":2329,"material":277,"size":2330,"collection":30,"collections":2331,"showCount":2279,"zanCount":241,"manualWeight":11,"mainColor":54},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,44,24,7,364,46,68,66,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":2333,"slug":2334,"title":2335,"dynasty":18,"author":324,"museum":325,"description":326,"tags":2336,"thumbUrl":2337,"material":25,"size":329,"collection":30,"collections":2338,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":73},220216,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-1-liu-gong-quan-220216","神策军碑-皇帝巡幸左神策军纪圣德碑1",[7,25,24,66,406,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0521c13eaf5363388ee6f5cebbcb8025.jpg",[],{"id":2340,"slug":2341,"title":2342,"dynasty":155,"author":658,"museum":126,"description":2343,"tags":2344,"thumbUrl":2346,"material":444,"size":30,"collection":30,"collections":2347,"showCount":2279,"zanCount":11,"manualWeight":11,"mainColor":54},216720,"hong-lou-meng-fu-tu-ce-5-yi-ming-216720","红楼梦赋图册-5","墨笔竖书的赋文如流水淌过笺页，字里行间似藏着红楼儿女的喁喁私语。环绕的缠枝绿意轻舒，粉蕊点缀其间，像把大观园的春愁秋恨织进了文字的肌理。淡彩勾勒的纹样不事张扬，却与端雅的小字相映成趣，仿佛能闻见纸页间漫出的墨香与花香。每一处线条的婉转，每一笔色彩的晕染，都暗合着赋文里的悲欢：那些红楼旧梦，那些聚散浮萍，都在这清雅的构图里，化作一抹挥之不去的怅惘，引观者沉入古典文学的温柔秘境。",[23,96,44,45,97,24,7,2345,442],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc66a6efec35222818c1cba6fa7d41d6.jpg",[],{"id":2349,"slug":2350,"title":2351,"dynasty":1200,"author":658,"museum":126,"description":2352,"tags":2353,"thumbUrl":2355,"material":135,"size":136,"collection":30,"collections":2356,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":54},290689,"fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-bao-ta-xin-jing-shou-gao-yi-ming-290689","佛说般若波罗蜜多心经 宝塔心经手稿","这是别具巧思的经变相抄本，以正中坐佛为塔心，小楷经文沿朱线界格环绕排布，勾勒出佛塔轮廓。墨笔字体端秀内敛，笔锋朴拙沉静，带着抄经时的肃穆心力。朱红界格与淡墨经文相映，让规整的字塔兼具法度与雅致。\n\n字塔即佛塔，诵读观览之时，亦是以字为砖、以经为塔的礼敬之举，将书写、持诵与观想融为一体。泛黄古纸晕着岁月痕迹，边角磨损藏着经年供养的温度，既是虔诚的写经遗存，亦是融信仰与美术为一体的小品，尽显至诚心意。",[83,24,7,212,1561,663,2354],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ee5f275b610cc4219c7c4eb2e9921.jpg",[],19,{"id":2359,"slug":2360,"title":2361,"dynasty":59,"author":733,"museum":126,"description":2362,"tags":2363,"thumbUrl":2365,"material":135,"size":136,"collection":30,"collections":2366,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":54},288415,"da-de-ming-tie-dong-fu-si-bian-e-zhang-ji-zhi-288415","大德名帖东福寺匾额","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[23,24,7,2270,212,2364],"名帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08a21673cbf948058f9f98f782fbde8.jpg",[],{"id":2368,"slug":2369,"title":2370,"dynasty":18,"author":2371,"museum":126,"description":1472,"tags":2372,"thumbUrl":2373,"material":135,"size":136,"collection":30,"collections":2374,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":73},287568,"lin-wang-xian-zhi-fei-niao-tie-zhe-sui-liang-287568","临王献之飞鸟帖","禇遂良",[24,160,26,66,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d85e86216ebedf08e00fe17e3ba5b5.jpg",[],{"id":2376,"slug":2377,"title":2378,"dynasty":155,"author":658,"museum":126,"description":2379,"tags":2380,"thumbUrl":2381,"material":30,"size":30,"collection":216,"collections":2382,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":34},242174,"lan-ting-ba-zhu-tie-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-yi-ming-242174","《兰亭八柱帖》戏鸿堂刻柳公权兰亭诗","此拓本墨色沉凝乌亮，字口清劲挺括，将柳公权书法瘦硬通神的筋骨风神尽数留存。笔画斩截爽利，结体端庄开阔，尽显柳书的刚健雅正。刻工精妙入微，把笔锋的起落转折复刻无遗，虽经刻拓，却未失笔墨原初的鲜活意趣。旁侧题识笔意舒展，与帖文相映成趣，添增文韵雅致，让这件拓本兼具碑刻的金石沉浑与翰墨的灵动雅致，尽显兰亭诗帖的悠远意蕴。",[24,25,66,364,7,26,160,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed4c57aeefb2b4f1aed893dbe676dbb.jpg",[216],{"id":2384,"slug":2385,"title":2386,"dynasty":155,"author":880,"museum":126,"description":881,"tags":2387,"thumbUrl":2388,"material":68,"size":30,"collection":30,"collections":2389,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":886},223273,"li-shu-tong-shou-gao-zhen-ji-chang-sui-fo-xue-hong-yi-fa-shi-223273","李叔同手稿真迹-常随佛学",[23,24,81,46,212,83,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edd59dc08725e49bb546ea1fdf4492e.jpg",[],{"id":2391,"slug":2392,"title":2393,"dynasty":155,"author":2394,"museum":157,"description":2395,"tags":2396,"thumbUrl":2398,"material":30,"size":2399,"collection":216,"collections":2400,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":34},222688,"shu-wu-liang-shou-fo-jing-ce-ruan-yuan-222688","书无量寿佛经册","阮元","阮元（1764年2月21日 [110] －1849年11月27日 ），字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，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” 。生平著述丰富，撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[1244,7,83,45,1507,66,24,185,2397],"装饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66e7fce4cddb8dbe65e647ec9a947ab.jpg","25.3x50.8 厘米",[216],{"id":2402,"slug":2403,"title":2404,"dynasty":194,"author":2405,"museum":2406,"description":2407,"tags":2408,"thumbUrl":2409,"material":277,"size":2410,"collection":30,"collections":2411,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":54},222482,"xing-kai-luo-shen-fu-juan-zhu-yun-ming-222482","行楷洛神赋卷","祝允明","上海朵云轩","跋 者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[23,24,378,7,364,81,82,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":2413,"slug":2414,"title":2415,"dynasty":39,"author":2416,"museum":2417,"description":2418,"tags":2419,"thumbUrl":2420,"material":2421,"size":2422,"collection":30,"collections":2423,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":30},220660,"kai-shu-song-yi-shi-shen-bo-xin-xu-chen-you-220660","楷书送医师沈伯新序","沉右","香港中文大学文物馆","沉右，字仲说，号寓斋，又有存存斋署，吴中（今江苏苏州）人，工诗文书法。此卷书迹是沉右书赠乡里名医沈伯新的序文，缘于至正十年（1350）夏，沉右祖母突发急恙，幸得沈伯新医治而愈，故特撰文述其事以致谢，并请一众文朋题跋赠予沈伯新留存。是卷题跋累累，荟诸贤之文华，经历各朝流传至今，弥足珍贵。\n\n沉右出自吴中世家巨族，以诗文书法与江浙名士过从甚密。此卷元代题跋者，如顾瑛、周伯温、陈基、郑元佑元代名士。入明清后，此卷又得吴宽、沈周、文征明、沈德潜、钱载、桂馥等诗文书画大家题跋，文墨价值益重。而在诸家墨迹之间，亦杂有一纸祝允明《吴郡沈氏良惠堂叙铭》和文征明跋文墨拓。由沈文叶、沈谦跋语可知「良惠」为宋高宗书赐沈家南渡始祖御字，沈家遂以之为堂号。沈氏后辈在明时曾请祝允明与文征明分做叙铭和题跋，勒石以志。不过至沈谦时，原迹和刻石皆已散失逾百年。将其拓本与沈右墨迹序文共裱一卷，合璧并传，应是为更增显沈氏自南宋经元明而清的荣赫家世。\n\n沉右序文以楷书书写，精心闲熟，法度严谨，风格婉丽雅致，得欧、褚之法颇多，亦带明的赵体韵味。卷后题跋林林总总，其中数家虽非名手，亦自精绝。诸多跋语也突显此卷在不同时代的递藏意义。元人因应沉右延请，故其跋文皆着眼于沈伯新医术并附及沈右孝行；明人吴宽、沈周、文征明等皆为吴人，就有感于吴中先贤墨翰风流；清人尤其是沈家后人，则是在对沈氏南渡家世不断地追述中，将其确立为门庭赫奕的一件凭信之物。这些鉴藏史内容，连同其两经易手而复为沈家所得的经历，亦可成为研究吴中社会、文化的一个切入点。",[44,24,7,81,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b790731bfd0caf96f0349edfdb5727.jpg","水墨,纸本,手卷","本幅：28.5 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87.2厘米",[],{"id":2425,"slug":2426,"title":2427,"dynasty":194,"author":658,"museum":126,"description":2428,"tags":2429,"thumbUrl":2437,"material":444,"size":30,"collection":367,"collections":2438,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":73},216403,"xuan-da-shan-xi-san-zhen-tu-yi-ming-216403","宣大山西三镇图","此图以图文并茂之态，铺展明代宣大山西三镇的边防图景。右侧青绿山峦层叠起伏，关隘如“雁门关”“千朔州关”以方框醒目标注，蜿蜒道路串联星罗棋布的烽燧营垒，布局清晰直观；左侧蝇头小楷详述地理沿革与军事部署，补地图未尽之细节。设色淡雅古朴，山峦勾勒兼具写意韵致与写实精度，既为研究明代北疆防御体系的珍贵文献，亦显舆图融实用功能与艺术审美于一体的独特风貌，静静承载着彼时戍边将士的烽火记忆与山河守望。",[23,129,96,44,2430,97,66,360,2431,2432,2433,2434,7,2435,2436],"青绿","关隘","烽燧","营垒","道路","军事舆图","边防","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedc7686f0c9ff5207bb36c9a08e865.jpg",[367],{"id":2440,"slug":2441,"title":2442,"dynasty":39,"author":1902,"museum":126,"description":2443,"tags":2444,"thumbUrl":2446,"material":135,"size":136,"collection":30,"collections":2447,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},290449,"you-bo-tan-hua-tu-ti-ba-ke-luo-ban-ni-zan-290449","忧钵昙花图题跋（珂罗版）","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,24,7,2445,212,1561,44],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd084cc30dc40dba95b67a8c32b92874.jpg",[],18,{"id":2450,"slug":2451,"title":2452,"dynasty":155,"author":2453,"museum":126,"description":2454,"tags":2455,"thumbUrl":2456,"material":135,"size":136,"collection":30,"collections":2457,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":34},290204,"zhu-zi-zhi-jia-ge-yan-huang-zi-yuan-290204","朱子治家格言","黄自元","黄自元（1837年—1918年），字敬舆，号澹叟，湖南安化县龙塘乡人，清末书法家，实业家。\n生于道光十七年（1837年），清同治六年（1867年）举于乡，次年殿试列第二（榜眼），授翰林院编修。曾任顺天乡试同考官和江南乡试副考官。民国7年（1918年）病逝。曾临摹《间架结构摘要九十二法》书帖，为该书的推广做出了重要贡献。",[7,24,26,25,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3dbc49f24783c781b285365a3b2226.jpg",[],{"id":2459,"slug":2460,"title":2461,"dynasty":59,"author":1110,"museum":126,"description":2462,"tags":2463,"thumbUrl":2465,"material":135,"size":136,"collection":30,"collections":2466,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657","万方职贡图全卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,129,96,44,81,46,1905,24,364,7,66,2464],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":2468,"slug":2469,"title":621,"dynasty":18,"author":2371,"museum":126,"description":1472,"tags":2470,"thumbUrl":2471,"material":135,"size":136,"collection":30,"collections":2472,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},287572,"ni-kuan-zan-zhe-sui-liang-287572",[24,7,26,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a5e185d753373b80a884082307a48d.jpg",[],{"id":2474,"slug":2475,"title":2476,"dynasty":155,"author":658,"museum":126,"description":2477,"tags":2478,"thumbUrl":2479,"material":135,"size":136,"collection":30,"collections":2480,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[129,96,44,24,475,7,97,674,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":2482,"slug":2483,"title":2484,"dynasty":194,"author":1158,"museum":126,"description":2485,"tags":2486,"thumbUrl":2487,"material":30,"size":30,"collection":30,"collections":2488,"showCount":2448,"zanCount":241,"manualWeight":11,"mainColor":73},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,96,44,81,949,46,7,364,24,83,66,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":2490,"slug":2491,"title":2492,"dynasty":59,"author":2493,"museum":126,"description":2494,"tags":2495,"thumbUrl":2496,"material":30,"size":30,"collection":30,"collections":2497,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","赵光辅","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,129,96,44,81,212,97,99,161,66,24,441,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":2499,"slug":2500,"title":2501,"dynasty":18,"author":500,"museum":126,"description":2502,"tags":2503,"thumbUrl":2504,"material":30,"size":30,"collection":30,"collections":2505,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},227083,"wen-huang-ai-ce-ye-tie-chu-sui-liang-227083","文皇哀册页帖","《文皇哀册》在传世的小楷作品中，久负盛名。相传为真迹，但文稿后並无书人落款。据古代学者考证，乃是褚遂良在公元649年为唐太宗文皇之死而作的。\n\n据唐元陵《仪注》所记唐代宗丧礼，当皇帝灵柩下葬，在灵驾往山陵引发之际，要在太极宫承天门外举行遣奠之礼，由中书令宣读哀册，然后再把哀册纳入山陵之中。唐太宗的丧礼《仪注》虽未记载，但大致推想其礼仪当与代宗李豫相似，甚至过之。太宗驾崩时，褚遂良恰好为中书令，因此由他宣读并撰文书写“哀册”便是合情合理的事了。这篇《哀册》的文字曾见载于《文苑英华》、《唐大诏令集》等。作为法书真迹，《文皇哀册》最早记载于宋高宗的藏品中。此外原真迹本后还有宋人于瑰和薛绍彭、米友仁等人的题记，以及绍兴御府印记。其中尤以米友仁的跋引人注目。米友仁跋曰：“褚遂良在唐贤诸名世士书中，为秀颖得羲之法最多者，真字有隶法，自成一家，非诸人可以比肩，此书盖其晚年笔。”米友仁为米芾之子，本身是一位著名的书画家及鉴赏家，所以《文皇哀册》被判断为褚书，可以说是权威之见。此后元末明初的宋濂、明王世贞等人亦对此帖真迹的流传作了记载。从记载中我们得知，历代收藏者有著名收藏家岳珂、郭守敬以及王世贞等，可见这幅作品的身价之高。",[24,45,7,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33af4a7d295c4b58c6b2d52909cdeb14.jpg",[],{"id":2507,"slug":2508,"title":2509,"dynasty":837,"author":658,"museum":126,"description":2510,"tags":2511,"thumbUrl":2512,"material":30,"size":30,"collection":30,"collections":2513,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},227065,"bei-wei-yuan-zhen-mu-zhi-ming-yi-ming-227065","北魏元桢墓志铭","《元桢墓志》是元魏宗子志石时间最古的。刻于魏孝文帝太和二十年（公元496年）,是属于北魏中期的典型碑刻。17行，行18字，共306字。志高71厘米，宽71厘米。1926年夏出土于洛阳城北高沟村东南，后经于右任先生收藏并移存西安碑林至今。其笔画茂实刚劲，结体紧峻，意态恣肆，气势雄奇。",[24,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ea4fc117f539264f63d3add8d31042.jpg",[],{"id":2515,"slug":2516,"title":2517,"dynasty":194,"author":2518,"museum":41,"description":2519,"tags":2520,"thumbUrl":2526,"material":2527,"size":2528,"collection":30,"collections":2529,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":54},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","钱谷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,96,81,97,99,44,364,7,66,101,361,2521,1912,362,695,1397,2522,164,2523,2524,2525,442],"亭子","竹子","柳","园林","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纸本，设色","纵29.8厘米，横190.2厘米",[],{"id":2531,"slug":2532,"title":2533,"dynasty":59,"author":2534,"museum":93,"description":2535,"tags":2536,"thumbUrl":2538,"material":68,"size":2539,"collection":50,"collections":2540,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":73},221568,"shu-han-wen-gao-quan-juan-zhu-xi-221568","书翰文稿(全卷)","朱熹","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n朱熹书法追慕钟、王，注重法度。此卷看似信手而出，运笔迅疾，实则不事雕琢，无意求工，深具功力，独见自然之美。\n在笔法上，此《书翰文稿》卷善用中锋，运转沉着顺畅，入笔藏锋隐芒，绝无狂躁之迹，行气连贯，不刻意工整，风格洒脱自然，文与质、文与道互为表里。",[23,129,96,44,81,364,7,24,66,2537],"文稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17845e2d30b7a63446a2e48fd4c53ce4.jpg","前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米",[50],{"id":2542,"slug":2543,"title":2544,"dynasty":18,"author":2545,"museum":2546,"description":2547,"tags":2548,"thumbUrl":2549,"material":28,"size":2550,"collection":30,"collections":2551,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":54},214309,"shu-kong-zi-yan-zi-zan-can-ke-li-dan-214309","书孔子顔子赞残刻","李旦","首都图书馆","这块碑是在唐朝十一年立的。曲阜孔庙的唐代楷书碑文 孔子与颜子赞 的原貌是根据教会碑文 老子孔子与颜子赞碑（及赵氏诏书），该碑文也刻于开元11年。如果书法也是出自皇帝的墨宝，那么题词应该是 御制御书，这种书很少出现在早期文献中。",[23,406,24,25,7,1463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302d8893bf0d679ca79da4cd434b166.jpg","49x49",[],{"id":2553,"slug":2554,"title":2555,"dynasty":59,"author":2556,"museum":126,"description":2557,"tags":2558,"thumbUrl":2559,"material":135,"size":136,"collection":30,"collections":2560,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},289868,"xian-yuan-xiang-yun-tu-guo-zhong-shu-289868","仙苑祥云图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[129,96,44,45,98,2430,97,101,360,1148,7,24,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9200c9cabf7ce31d3011683c95b5f6.jpg",[],{"id":2562,"slug":2563,"title":2564,"dynasty":194,"author":2067,"museum":126,"description":2565,"tags":2566,"thumbUrl":2568,"material":135,"size":136,"collection":30,"collections":2569,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},283730,"yin-fu-jing-fu-jun-bei-juan-dong-qi-chang-283730","阴符经府君碑卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,7,81,83,66,2567,26,44],"道家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364d070484396cfc55300bda7378eb6.jpg",[],{"id":2571,"slug":2572,"title":2573,"dynasty":59,"author":658,"museum":126,"description":2574,"tags":2575,"thumbUrl":2576,"material":30,"size":30,"collection":216,"collections":2577,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":54},242217,"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","此拓本墨色苍润沉凝，字口锋棱宛然留存。行书笔致灵动舒展，遒劲与秀逸兼具，尽显晋人尺牍的萧散风神。\n\n字间排布错落暗含章法，笔势映带自然，将魏晋名士疏朗通脱的气质藏在点捺流转之中。虽经刊刻拓印，却未掩笔法精妙细节，提按转合间的细腻意趣清晰可见，尽显刻帖的金石意趣与书法本身的隽雅风骨，让观者得以窥见古法书韵的雅致精妙。",[24,25,26,160,364,783,650,235,7,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[216],{"id":2579,"slug":2580,"title":2581,"dynasty":155,"author":2582,"museum":126,"description":2583,"tags":2584,"thumbUrl":2594,"material":135,"size":136,"collection":30,"collections":2595,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":54},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[7,24,44,2013,360,1275,2585,2586,2587,2588,2589,2590,2523,2591,2592,2593],"涧","水田","村","溪","林","野塘","鹭","波","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],{"id":2597,"slug":2598,"title":2599,"dynasty":59,"author":1189,"museum":126,"description":2600,"tags":2601,"thumbUrl":2602,"material":30,"size":30,"collection":30,"collections":2603,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},230852,"ba-cao-e-lei-mo-ji-zhao-gou-230852","跋曹娥诔墨迹","此作用笔清润圆融，提按转合皆含二王遗韵，尽显温润秀逸的宋韵风神。行文排布疏朗错落，笔墨间带着清雅书卷气，字字雅致隽永，法度与意趣兼备。朱红印信错落点缀，与墨色相映成趣，章法和谐古雅。题跋既抒对先贤墨宝的赞誉，也以自身笔意展露不俗书艺涵养，将文人雅致融于笔墨方寸之间，尽显温婉质感与文人意趣。",[24,364,66,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd0cff312155d75e983a475a0acee4.jpg",[],{"id":2605,"slug":2606,"title":2607,"dynasty":155,"author":2608,"museum":126,"description":2609,"tags":2610,"thumbUrl":2612,"material":135,"size":136,"collection":30,"collections":2613,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},229037,"kang-xi-fu-zheng-yu-wai-ai-xin-jue-luo-xuan-ye-229037","康熙赋政于外","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,24,7,650,66,81,759,674,2611,97],"墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f5f9ae660ee4168f660acd64c30d7a.jpg",[],{"id":2615,"slug":2616,"title":2617,"dynasty":194,"author":2618,"museum":126,"description":2619,"tags":2620,"thumbUrl":2621,"material":135,"size":136,"collection":30,"collections":2622,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},228333,"si-ti-qian-zi-wen-lu-shi-ren-228333","四体千字文","陆士仁","此卷书法工整稳健，圆劲古雅。结字运笔因体取势，篆书温纯古拙，隶书沉着质朴，草、楷书起笔尖微精健，更似文徵明用笔之法。卷后陆士仁之子广明题识：“先君子幼习太史公书，片楮只字无不临摹，几于入室。",[23,44,24,81,364,783,650,7,66,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":2624,"slug":2625,"title":2626,"dynasty":59,"author":658,"museum":126,"description":2627,"tags":2628,"thumbUrl":2630,"material":30,"size":30,"collection":30,"collections":2631,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},227565,"chun-hua-ge-tie-1-10-juan-yi-ming-227565","淳化阁帖1－10卷","《淳化阁帖》，又名《淳化秘阁法帖》，简称《阁帖》，共10卷。是中国最早的一部汇集各家书法墨迹的法帖。",[2629,25,24,26,364,235,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf07071fde65eb01773944a9e7bb62.jpg",[],{"id":2633,"slug":2634,"title":2635,"dy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杨皇后本人，历来众说不一。",[1014,24,7,2910,2911,2912,2913,66],"蔷薇","蜂蝶","桂子","西风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382045e8363d03f116391a78ba1e6476.jpg",[],{"id":2917,"slug":2918,"title":2919,"dynasty":18,"author":2920,"museum":126,"description":2921,"tags":2922,"thumbUrl":2924,"material":135,"size":136,"collection":30,"collections":2925,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":54},288997,"shi-shi-tu-tao-yin-288997","十狮图","陶訚","画中五狮神采各异，昂首咆哮者尽显悍勇，扑跃嬉闹者流露灵动，劲挺的鬃毛笔触蓬松，将瑞狮健硕肌理勾勒得栩栩如生。古雅沉郁的棕褐底色烘托墨色狮身，工细晕染与写意笔意相融，尽显雄浑气魄。\n\n瑞狮作为镇护瑞兽，承载着祈福安宅的意涵，整幅画作刚柔并济，线条兼具苍劲与灵动，画师以精妙笔力将盛世意气凝于绢素。题跋文辞相映，让逸闻与画中神采交织，古韵悠悠，是兼具审美价值与民俗意趣的传世佳作。",[96,44,475,97,1273,2923,24,7,66],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fa098b20a352ed7e42b9280a7eca81.jpg",[],{"id":2927,"slug":2928,"title":2929,"dynasty":155,"author":2453,"museum":126,"description":2930,"tags":2931,"thumbUrl":2932,"material":135,"size":136,"collection":30,"collections":2933,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":34},288303,"jian-jia-jie-gou-zhai-yao-jiu-shi-er-fa-huang-zi-yuan-288303","间架结构摘要九十二法","《间架结构摘要九十二法》是在唐初四大书家之一欧阳询《结字三十六法》及明代李淳《大字结构八十四法》基础上系统、全面地研究剖析了汉字结构组合规律，归纳总结出九十二种汉字结体书写的方法，并各有典型例字。《间架结构摘要九十二法》是一本较为完整、实用的法帖，更对后世书者影响巨大，不仅适于初学书者临习，也可供书法爱好者参考欣赏。九十二法对初学者了解间架结构有指导意义，是初学者的启蒙导师。在清末及民国初年达到了家喻户晓、人手一册、学书之人案头必备的程度。",[24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f7dedcd222402fdef07abde25514a.jpg",[],{"id":2935,"slug":2936,"title":2937,"dynasty":155,"author":682,"museum":126,"description":2938,"tags":2939,"thumbUrl":2940,"material":135,"size":136,"collection":30,"collections":2941,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":73},241358,"jie-lu-du-fu-dong-xi-liang-chuan-shuo-ping-zhao-zhi-qian-241358","节録杜甫东西两川说屏","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,7,66,44,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba86a0cc8745dcba35170f7e29fc5ae9.jpg",[],{"id":2943,"slug":2944,"title":2945,"dynasty":155,"author":2946,"museum":126,"description":2947,"tags":2948,"thumbUrl":2949,"material":135,"size":136,"collection":30,"collections":2950,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":73},241290,"qi-lv-er-shou-wu-zheng-song-241290","七律二首","邬正淞","嘉庆二十五年澳门同知",[44,24,7,66,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c436e7fa98e638c44e771b6fba04a77.jpg",[],{"id":2952,"slug":2953,"title":2954,"dynasty":155,"author":2955,"museum":126,"description":2956,"tags":2957,"thumbUrl":2958,"material":135,"size":136,"collection":30,"collections":2959,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":73},241289,"kai-shu-shi-zha-li-fang-241289","楷书诗札","李芳","李芳，字信甫，江苏武进人。诸生，道光十五年（一八三五）顺天乡试挑取誊录，官海州教谕。工诗，书法二王。尤善画山水，不宗一家，笔意苍厚峻拔，绝无甜輭习气。间写梅竹小品，亦古劲有致。当太平天国之后以忧去官返里，遂不复出。卒年七十七。《毘陵画徵录》",[7,24,546,68,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff150ff2ec450cd21b0b13d6cea82738e.jpg",[],{"id":2961,"slug":2962,"title":2963,"dynasty":155,"author":598,"museum":126,"description":2964,"tags":2965,"thumbUrl":2966,"material":135,"size":136,"collection":30,"collections":2967,"showCount":2893,"zanCount":11,"manualWeight":11,"mainColor":73},241139,"si-ti-shu-si-tiao-ping-deng-shi-ru-241139","四体书四条屏","邓石如 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），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[23,24,83,7,45,46,68,44,1646,2080,194,546,2013,543,3484],"经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[216],{"id":3488,"slug":3489,"title":2971,"dynasty":155,"author":1750,"museum":41,"description":2972,"tags":3490,"thumbUrl":3492,"material":103,"size":2978,"collection":30,"collections":3493,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":73},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150",[96,44,45,97,99,161,1912,362,361,526,3491,1397,24,7],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg",[],{"id":3495,"slug":3496,"title":3497,"dynasty":1569,"author":658,"museum":126,"description":3498,"tags":3499,"thumbUrl":3500,"material":30,"size":30,"collection":30,"collections":3501,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":54},232794,"long-men-er-shi-pin-yi-ming-232794","龍門二十品","从河南洛阳南行十三公里左右，就到了著名的“四大佛窟”之一的龙门石窟。这里两山夹峙，有如门阙，伊水长流，一边，是唐代大诗人白居易长眠的香山；一边，是龙门山。在龙门山上，有自北魏至北宋开凿的大大小小的佛窟，至今尚存的就有一千三百五十二个，有佛龛二千三百四十五个，造像多至十万余尊，是中国雕塑艺术的宝库。\u2028 这些造像，大多都有题记。人们在龙门造佛像，有的是为君，有的是为友，有的是为亡妻，有的是为夭女。造好像后，有的人就要刻石记载这一件事，这就是龙门造像题记的来历。许多题记书法都十分精美，尤其是北魏造像题记，是魏碑书法的代表作品，被康有为称为“雄峻伟茂，极意发宕，方笔之极轨也”（《广艺舟双楫·余论》）。\u2028 清代碑学大兴以后，龙门石窟造像题记引起了人们的注意，开始搜求椎拓。开始仅由黄易拓《始平公造像记》一品，后来增至《四品》《十品》《二十品》《五百品》乃至《龙门全山》。其中，以《龙门二十品》最为实用，影响也最大。\u2028 《龙门二十品》是经过许多书家选择的，很具有代表性，所选题记，都是北魏书法中的精品。这二十品是：\u2028\u2028　　《始平公造像记》\u2028\u2028　　《孙秋生造像记》\u2028\u2028　　《尉迟造像记》\u2028\u2028　　《解伯达造像记》\u2028\u2028　　《一弗氏造像记》\u2028\u2028　　《比丘惠感造像记》\u2028\u2028　　《元详造像记》\u2028\u2028　　《魏灵藏造像记》\u2028\u2028　　《杨大眼造像记》\u2028\u2028　　《比丘道匠造像记》\u2028\u2028　　《孙保造像记》\u2028\u2028　　《高树造像记》\u2028\u2028　　《郑长遒造像记》\u2028\u2028　　《贺兰汗造像记》\u2028\u2028　　《马振拜造像记》\u2028\u2028　　《太妃侯为幼孙造像记》\u2028\u2028　　《慈香造像记》\u2028\u2028　　《比丘法生造像记》\u2028\u2028　　《元燮造像记》\u2028\u2028　　《元佑造像记》\n《龙门二十品》，有十九品在古阳洞，仅有一品在老龙洞外慈香窟。从《二十品》中，已经可以大致窥见龙门书风。所书大致出于民间书手，一派天真，有人称之为粗头乱服，天真烂漫，但奇趣天成。康有为在《广艺舟双楫·十六宗》中说：“魏碑无不佳者，虽穷乡儿女造像，而骨血峻宕，拙厚中皆有异态，构字亦紧密非常，岂与晋世皆当书之会耶？何其工也。譬江、汉游女之风诗，汉、魏儿童之谣谚，自能蕴蓄古雅，有后世学士所不能为者，故能择魏世‘造像记’学之，已自能书矣。”\u2028　　龙门造像题记书法对后世的影响非常大，康有为甚至认为有了魏碑，南碑（指南方之碑，如《爨宝子》《爨龙颜》）、齐碑、周碑、隋碑都可以不要了，因为它们所有的风格在魏碑中就已经有了。在这里，我们可以寻到后代许多著名书法家的源头，如赵孟頫、邓石如、赵之谦等。近现代书家，也都把龙门造像题记作为自己学习的极则。",[25,24,7,1027,1463,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5877464a7433cc0eb7c0c93312c26a.jpg",[],{"id":3503,"slug":3504,"title":3505,"dynasty":1200,"author":658,"museum":126,"description":3506,"tags":3507,"thumbUrl":3515,"material":135,"size":136,"collection":30,"collections":3516,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":54},231830,"nan-bei-chao-sheng-man-shi-zi-hou-yi-cheng-da-fang-bian-fang-guang-jing-sheng-man-jing-yi-ming-231830","南北朝 胜鬘师子吼一乘大方便方广经 胜鬘经","这卷写经以泛黄古纸为底，手绘花叶作界格点缀，古雅静谧扑面而来。其书为规整写经楷书，结体匀停端庄，笔画舒展秀润，笔力内敛沉实。通篇排布齐整，气息平和肃穆，尽显写经时的虔敬心力，毫无板滞匠气，在法度谨严中带着灵动雅致。笔墨晕染着六朝写经特有的沉静韵味，既体现写经书法的庄严工整，又暗藏书写者静定的笔底风神，是兼具宗教人文意蕴与书法审美价值的珍本。",[24,83,546,7,68,81,3508,543,544,3509,3510,3511,3512,3513,3514],"古朴","纵向排列","文字密集","边缘饰彩色叶状图案","墨色浓黑","字迹清晰","传统书法风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fe4a7b73f7273519276850c949b94.jpg",[],{"id":3518,"slug":3519,"title":3520,"dynasty":1200,"author":3521,"museum":126,"description":3522,"tags":3523,"thumbUrl":3524,"material":135,"size":136,"collection":30,"collections":3525,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":73},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[96,44,81,97,99,98,212,24,7,364,161,101,1912,362,950,1273,360,198,100,361,2525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":3527,"slug":3528,"title":3529,"dynasty":18,"author":658,"museum":126,"description":3530,"tags":3531,"thumbUrl":3534,"material":30,"size":30,"collection":30,"collections":3535,"showCount":3377,"zanCount":150,"manualWeight":11,"mainColor":73},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","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。",[23,406,83,7,68,212,24,662,3153,663,3532,3533],"传统书法","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],{"id":3537,"slug":3538,"title":3539,"dynasty":18,"author":3540,"museum":126,"description":3541,"tags":3542,"thumbUrl":3543,"material":30,"size":30,"collection":30,"collections":3544,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":54},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,24,83,81,7,212,185,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":3546,"slug":3547,"title":3548,"dynasty":18,"author":658,"museum":126,"description":3549,"tags":3550,"thumbUrl":3551,"material":135,"size":136,"collection":30,"collections":3552,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":34},226535,"ji-zhao-he-shang-bei-duan-cheng-shi-zhuan-wu-ke-shu-li-ying-juan-yi-ming-226535","寂照和尚碑段成式撰無可書李郢鐫","唐大和7年(833)12月卒,經摺裝剪裱",[23,406,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec1be65632ffcac575e027ca6503d04.jpg",[],{"id":3554,"slug":3555,"title":3556,"dynasty":1200,"author":658,"museum":1340,"description":3557,"tags":3558,"thumbUrl":3559,"material":135,"size":136,"collection":30,"collections":3560,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":54},226511,"xie-jing-p-4501-fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-226511","写经P.4501佛顶尊胜陀罗尼经卷一","佛顶尊胜陀罗尼，尊胜佛顶尊之陀罗尼也。帝释天，悯善住天子有从今受七度畜生恶道身之业因，诣祇园精舍请佛救济之法，佛为说此陀罗尼，令诵之。尊胜陀罗尼经曰：“告帝释言：天帝有陀罗尼名为如来佛顶尊胜，能净一切恶道，能净除一切生死苦恼。（中略）佛告天帝：此佛顶尊胜陀罗尼，若有人闻一经于耳，先世所造一切地狱恶业皆悉消灭。”",[24,83,212,546,81,662,3153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb934fc0031f87f7f2495d22609071206.jpg",[],{"id":3562,"slug":3563,"title":3564,"dynasty":155,"author":1241,"museum":93,"description":3565,"tags":3566,"thumbUrl":3567,"material":68,"size":3568,"collection":216,"collections":3569,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":34},224120,"ni-jin-shu-si-de-xu-lun-qian-long-224120","泥金书四得绪论","此卷为乾隆帝在泥金纸上书写的手卷，长卷在章法布局上疏朗大气，落落大方，气韵贯通，字体端壮秀丽，运笔上讲究迟送涩进之法，弥补了泥金书在书写时迟滞的缺点。",[23,1161,24,7,81,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77247b88eb1097cbe6c5b29bbacd118.jpg","35.7x502.2cm",[216],{"id":3571,"slug":3572,"title":3573,"dynasty":59,"author":658,"museum":93,"description":3574,"tags":3575,"thumbUrl":3576,"material":277,"size":3577,"collection":30,"collections":3578,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":73},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,96,44,81,212,161,99,97,66,24,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":3580,"slug":3581,"title":3582,"dynasty":155,"author":3583,"museum":157,"description":3584,"tags":3585,"thumbUrl":3586,"material":30,"size":3587,"collection":30,"collections":3588,"showCount":3377,"zanCount":11,"manualWeight":11,"mainColor":34},223281,"qing-ai-tang-shi-ke-si-ce-liu-yong-223281","清爱堂石刻 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黄道周 。\n《孝经集传》是明末大儒黄道周后期的著作。\n该书提炼出《孝经》的“五微义”与“十二著义”，不仅每一章有黄道周自己的诠释，还分别以二戴记、《仪礼》、《孟子》等作为义疏，认为《孝经》是六经之本，体现了黄道周后期思想中回归六经、经世致用的倾向。\n黄道周一生学在《周易》，行在《孝经》，《孝经集传》的学术价值正与其伟大气节相互辉映。\n由于该书成书历时六年，推衍极深，深为后世推许，因而《孝经集传》不仅是黄道周思想研究的必要文本，同时还是中国孝经学研究的重要著作。\n进孝经集传序 孝经集传卷一 开宗明义章第一 天子章第二 诸侯章第三 卿大夫章第四 士章第五 庶人章第六 孝经集传卷二 三才章第七 孝治章第八 圣德章第九 孝经集传卷三 纪孝行章第十 五刑章第十一 广要道章第十二 广至德章第十三 孝经集传卷四 广扬名章第十四 谏静章第十五 感应章第十六 事君章第十七 丧亲章第十八 附一 历代孝经集传序跋 明刻本孝经集传众弟子跋 康熙本孝经集传序一 康熙本孝经集传序二 康熙本孝经集传序三 四库提要 孝经集传钞序 孝经集传序 跋黄忠端楷书孝经墨刻 附二 清代以来对孝经集传的相关评价 附三 黄道周论孝八篇 孝纪序 书古文孝经後 书孝经别本後 书孝经颂後 书圣世颁孝经颂後 孝经颂 圣世颁孝经颂 孝经辨义 主要参考文献",[23,24,7,66,185,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2f527ade0e12dbadf5a04abb1f726a.jpg",[],{"id":5150,"slug":5151,"title":5152,"dynasty":59,"author":658,"museum":126,"description":5153,"tags":5154,"thumbUrl":5155,"material":30,"size":30,"collection":30,"collections":5156,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":34},227574,"wei-mo-ji-jing-yi-ming-227574","维摩诘经","《维摩诘经变》根据《维摩诘经》而来，是很能反映中国文人阶层精神面貌的壁画。 《维摩诘经变》是莫高窟中较重要的经变图，现存有30多幅，在各个时期都有表现，多以“异品同构”的构图方式出现，将多品的内容由一个故事情节互相穿插起来。到唐代之后，画家的技艺有了长足进步，构图更加合理，笔法更加讲究，对人物内心的把握亦更加到位。这幅《维摩诘经变》基本上以线描为主，局部赋色。画中的维摩诘坐于榻上，身披紫裘，白练裙襦，一膝支起，左手抚膝，右手执麈尾，身后是六曲草书屏风，服饰和器物的衬托将维摩诘完全表现为一位儒家的士大夫。他上身略前倾，蹙眉张口，精神矍烁，呈辩说状，一改魏晋时期“有清羸示病之容，隐几忘言之状”的表现方式。",[129,96,44,81,212,99,97,161,7,24,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52739128606e123240e7976057adc6b0.jpg",[],{"id":5158,"slug":5159,"title":5160,"dynasty":18,"author":658,"museum":126,"description":5161,"tags":5162,"thumbUrl":5163,"material":30,"size":30,"collection":30,"collections":5164,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":73},227124,"shi-ji-di-er-shi-jiu-juan-he-qu-shu-di-qi-can-juan-yi-ming-227124","史记第二十九卷河渠书第七残卷","《史记》，二十四史之一，最初称为《太史公书》或《太史公记》、《太史记》，是西汉史学家司马迁撰写的纪传体史书，是中国历史上第一部纪传体通史，记载了上至上古传说中的黄帝时代，下至汉武帝太初四年间共3000多年的历史。太初元年（前104年），司马迁开始了《太史公书》即后来被称为《史记》的史书创作。该著作前后经历了14年，才得以完成。\n《史记》全书包括十二本纪（记历代帝王政绩）、三十世家（记诸侯国和汉代诸侯、勋贵兴亡）、七十列传（记重要人物的言行事迹，主要叙人臣，其中最后一篇为自序）、十表（大事年表）、八书（记各种典章制度记礼、乐、音律、历法、天文、封禅、水利、财用）。《史记》共一百三十篇，五十二万六千五百余字，比《淮南子》多三十九万五千余字，比《吕氏春秋》多二十八万八千余字。《史记》规模巨大，体系完备，而且对此后的纪传体史书影响很深，历朝正史皆采用这种体裁撰写。\n《史记》被列为“二十四史”之首，与《汉书》、《后汉书》、《三国志》合称“前四史” ，对后世史学和文学的发展都产生了深远影响。其首创的纪传体编史方法为后来历代“正史”所传承。《史记》还被认为是一部优秀的文学著作，在中国文学史上有重要地位，被鲁迅誉为“史家之绝唱，无韵之《离骚》”，有很高的文学价值。刘向等人认为此书“善序事理，辩而不华，质而不俚”。",[7,364,24,185,81,66,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b213715ab01b245069886378432e5a.jpg",[],{"id":5166,"slug":5167,"title":5168,"dynasty":18,"author":3540,"museum":126,"description":3541,"tags":5169,"thumbUrl":5170,"material":30,"size":30,"collection":30,"collections":5171,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":54},227092,"xiao-zi-fa-hua-jing-juan-xia-bu-li-yuan-hui-227092","小字法华经卷下部",[23,24,83,81,212,7,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec1a4919be764b8f39da09c9433ad0.jpg",[],{"id":5173,"slug":5174,"title":5175,"dynasty":837,"author":658,"museum":126,"description":2992,"tags":5176,"thumbUrl":5177,"material":30,"size":30,"collection":30,"collections":5178,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":54},227067,"bei-wei-diao-zun-mu-zhi-ming-yi-ming-227067","北魏刁遵墓志铭",[24,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa459cefb2e7f1d5b88e74588c3dada96.jpg",[],{"id":5180,"slug":5181,"title":5182,"dynasty":155,"author":770,"museum":126,"description":771,"tags":5183,"thumbUrl":5184,"material":135,"size":136,"collection":30,"collections":5185,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":54},224361,"cheng-qin-wang-yong-xing-shi-ke-dun-xu-dian-bai-liang-ti-lian-ju-ce-ai-xin-jue-luo-yong-xing-224361","成亲王 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佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,96,44,81,99,949,97,212,161,101,100,198,360,24,83,364,7,650,783,235,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":6491,"slug":6492,"title":4486,"dynasty":59,"author":658,"museum":157,"description":6493,"tags":6494,"thumbUrl":6495,"material":625,"size":30,"collection":30,"collections":6496,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":73},227336,"lin-yue-yi-lun-yi-ming-227336","此册临本乐毅论，后题为唐褚遂良审定及排类。台北馆方定为宋人所写，然细观笔法，与元代俞和所作小楷有一定的内在联系，故宜做为元人的摹古之作",[129,96,44,24,7,160,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bad1d7d71444546e31293c60673e72e.jpg",[],{"id":6498,"slug":6499,"title":6500,"dynasty":18,"author":658,"museum":126,"description":4031,"tags":6501,"thumbUrl":6502,"material":135,"size":136,"collection":30,"collections":6503,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":73},227241,"jin-guang-ming-jing-can-juan-mu-wu-jing-yi-ming-227241","金光明经残卷 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手稿","素纸铺陈，黑笔小楷瘦劲紧凑，字字排布密而不乱，通篇朱笔圈点勾注，红痕如星子落墨海，明暗相映层次斐然。\n\n这是沉潜佛典的心血注本，笔底藏着往复推演的思辨脉络，朱痕标记着义理津要，是研读时灵光乍现的留存。密密麻麻的字迹里，藏着古人逐字叩问经义的执着，红黑交织间，复刻了千年前灯下探幽的治学图景，让纸面成为盛放思想的容器，鲜活承载着彼时对唯识义理的沉潜求索。",[81,24,83,6093,926,7,4880,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18efd207034aff98c1e585f766deac2.jpg",[],{"id":6870,"slug":6871,"title":6872,"dynasty":1200,"author":658,"museum":126,"description":6873,"tags":6874,"thumbUrl":6875,"material":135,"size":136,"collection":30,"collections":6876,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290680,"wei-mo-ji-jing-juan-shang-shou-gao-yi-ming-290680","维摩诘经卷上手稿","此卷小楷通篇匀净秀雅，点画精劲内敛，起收转合皆循写经典型法度。字字排布齐整如列松，却无板滞之弊，行间气脉贯通，带着沉静肃穆的禅意。墨色醇和古雅，泛黄纸页晕染着岁月痕迹，经文排布疏朗停匀，藏着写经人落笔时的静定之心。笔墨间克制端严，将佛法的空寂圆融融于毫端，是书法形制与经文禅思的绝妙契合，尽显古代写经人特有的虔敬工稳，藏着朴素静雅的东方笔墨禅味。",[81,24,83,7,926,1561,5452,5152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29af51d82350dac21418c5fcf44af83.jpg",[],{"id":6878,"slug":6879,"title":6880,"dynasty":1200,"author":658,"museum":126,"description":6881,"tags":6882,"thumbUrl":6883,"material":135,"size":136,"collection":30,"collections":6884,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290676,"da-fang-guang-fu-hua-yan-jing-juan-di-si-shi-jiu-shou-gao-yi-ming-290676","大方广佛华严经卷第四十九手稿","卷面古旧泛黄，岁月晕染的褐渍斑驳铺陈，边角朱印依稀留存。通篇以工整小楷抄就，排布匀净舒朗，笔锋内敛沉实，起收皆合法度，点画清劲凝练，筋骨内含，虽历经漫长年月，圆融工稳的笔势依旧清晰可辨。\n\n整卷一气呵成，墨色苍润沉静，藏着抄经人书写时的极致恭谨，将禅意澄寂融于毫端，质朴虔诚的气息漫溢纸面，既是极具古韵的书法佳构，亦是饱含宗教温度的传世珍本。",[83,24,7,81,185,1561,212,546,1684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb121d7c8cefbddd945be6e45e4670db5.jpg",[],{"id":6886,"slug":6887,"title":6888,"dynasty":1200,"author":658,"museum":126,"description":6889,"tags":6890,"thumbUrl":6891,"material":135,"size":136,"collection":30,"collections":6892,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290674,"da-fang-guang-fu-hua-yan-jing-juan-di-liu-shi-liu-shou-gao-yi-ming-290674","大方广佛华严经卷第六十六手稿","这卷写经小楷通篇匀整端秀，笔力凝稳沉实，起收皆具法度。点画排布紧凑舒展得宜，字字如列队之士，齐整却不失灵动。古纸泛黄晕开淡墨，衬得笔墨愈发清隽雅致。\n\n整卷一气呵成，数百字排布森然有序，尽显书写者恭谨心境，兼具唐写经的端严工稳与沉静内敛的禅意，将典籍庄严感融于笔墨之间，每一处顿挫转折皆见虔诚与娴熟功底，尽显传统写经书法的肃穆美感与沉静气韵。",[24,83,7,81,212,1561,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358ff285af0d8270749f5a07c72f4a79.jpg",[],{"id":6894,"slug":6895,"title":6896,"dynasty":1200,"author":658,"museum":126,"description":6897,"tags":6898,"thumbUrl":6899,"material":135,"size":136,"collection":30,"collections":6900,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},290664,"miao-fa-lian-hua-jing-di-er-shou-gao-yi-ming-290664","妙法莲华经第二手稿","此卷小楷写经，笔致匀净秀雅，通篇气息平和内敛。墨色莹润乌亮，行气舒展贯通，虽为长篇抄经却字字端稳工谨，法度隐于笔墨之间。点画精到细腻，起收转合皆见用心，在规整肃穆之中暗含灵动意趣，尽显写经人抄录时的恭谨持敬之心。整卷笔墨与经文禅意相融，静静承载着书写者的虔诚，将宗教的沉静内化于笔墨章法之中，是写经书法中颇具韵味的佳构。",[81,24,7,83,1561,212,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7aec475123b17cab27265526beb5a6.jpg",[],{"id":6902,"slug":6903,"title":6904,"dynasty":1200,"author":658,"museum":126,"description":6905,"tags":6906,"thumbUrl":6907,"material":135,"size":136,"collection":30,"collections":6908,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290663,"miao-fa-lian-hua-jing-di-yi-shou-gao-yi-ming-290663","妙法莲华经第一手稿","通篇小楷点画精劲凝练，结体端雅宽和，是典型的写经体风貌。抄经者以恭谨肃穆的笔态书写，行次匀整、气息悠长，既有唐楷的森严法度，又兼具写经特有的朴拙温润。\n\n墨色沉凝苍古，纸面因岁月经年泛黄斑驳，缺损处如时光凿痕，更添古厚意蕴。字里行间浸透着书写者的虔诚心境，将宗教的沉静内敛融于笔墨之中，这份写本既是珍贵的佛教文献，亦是极具审美价值的书法遗存，尽显中古写本的隽永质感，静静诉说着跨越千百年的笔墨与信仰的交融。",[81,24,83,926,1561,212,185,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d5c575509ced83272168336fb99794.jpg",[],{"id":6910,"slug":6911,"title":6912,"dynasty":1200,"author":658,"museum":126,"description":6913,"tags":6914,"thumbUrl":6915,"material":135,"size":136,"collection":30,"collections":6916,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290660,"da-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290660","大般若波罗蜜经手稿","此卷写经以小楷书就，笔墨恭谨端雅，字字排布匀整舒逸。笔画起收利落，筋骨内含，兼具书写法度与静穆禅意，将经文的肃穆融于笔端。\n\n纸面因岁月经年泛黄晕染，却更添沉静古旧质感，边角朱印留存，为素朴墨色晕开一抹亮色。通篇气息浑融统一，书写者以虔诚落墨，每一字都饱含静定气韵，尽显写经书法的庄严端方，带着悠悠古韵，静静诉说着过往的信仰与笔墨修行。",[24,83,212,1561,185,7,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e206229fcccfa5e56f51c46f788717e.jpg",[],{"id":6918,"slug":6919,"title":6920,"dynasty":1200,"author":658,"museum":126,"description":6921,"tags":6922,"thumbUrl":6923,"material":135,"size":136,"collection":30,"collections":6924,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290655,"miao-fa-lian-hua-jing-fa-shi-pin-di-shi-shou-gao-yi-ming-290655","妙法莲华经法师品第十手稿","此卷小楷笔致端雅秀润，结体匀整舒展，通篇排布森然有序，尽显写经体的庄重法度。书写者以恭谨之心落墨，点画之间兼具规整性与灵动意趣，既有经生书法的典型风貌，又暗含细腻的笔锋流转，将抄经时的沉敛肃穆融于笔墨之中。\n字里行间浸透着虔诚的信仰气息，清和静谧的韵致扑面而来，让观览者得以窥见书写时的肃穆心境，书法审美价值与宗教文化意蕴相融，是一件沉静雅致的写经遗存。",[44,24,83,7,81,212,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cecb2dee95954c87864a0cdc62f937.jpg",[],{"id":6926,"slug":6927,"title":6928,"dynasty":1200,"author":658,"museum":126,"description":6929,"tags":6930,"thumbUrl":6931,"material":135,"size":136,"collection":30,"collections":6932,"showCount":241,"zanCount":11,"manualWeight":11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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[4257,5505,7497,2050,24,7,66,5111,7498],"粉彩","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ad6f2a5b454f4e8081d752deb8fc04.jpg",[],{"id":7502,"slug":7503,"title":7504,"dynasty":155,"author":658,"museum":126,"description":7505,"tags":7506,"thumbUrl":7510,"material":135,"size":136,"collection":30,"collections":7511,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":34},259761,"tao-cheng-ju-shi-kuan-fang-guan-you-mo-cai-bi-tong-yi-ming-259761","陶成居士款仿官釉墨彩笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[4257,4259,5505,7507,24,7,7508,7509],"墨彩","仿官釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5fa13ca0918c82c89109210ac5c850.jpg",[],{"id":7513,"slug":7514,"title":7515,"dynasty":155,"author":658,"museum":126,"description":7516,"tags":7517,"thumbUrl":7518,"material":135,"size":136,"collection":30,"collections":7519,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":34},242598,"zhong-ke-chun-hua-ge-tie-yi-ming-242598","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。",[24,26,25,364,235,7,160,66,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e03517ae4f26ae0ff110b87a618de9.jpg",[],{"id":7521,"slug":7522,"title":7523,"dynasty":155,"author":658,"museum":126,"description":7524,"tags":7525,"thumbUrl":7526,"material":30,"size":30,"collection":216,"collections":7527,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":34},242360,"san-xi-tang-fa-tie-yi-ming-242360","三希堂法帖","墨底银钩，古雅沉静。此帖摹刻王羲之尺牍，笔势灵动舒展，牵丝映带间尽显晋人萧散风流，行间错落自然，将王氏行书“飘若游云，矫若惊龙”的神韵复刻传神。朱印琳琅排布，方、圆、回文印错落点缀，朱色、银线与墨底相映成趣，金石之气与翰墨之雅交融。镌刻精细入微，毫发毕现，将原帖笔法意韵尽数留存，尽显刻帖工艺精妙，静静诉说着古人对翰墨风雅的追慕与传承。",[24,25,26,66,650,364,427,783,7,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2c9c47d1692159600063ad0ec030cd.jpg",[216],{"id":7529,"slug":7530,"title":7531,"dynasty":194,"author":658,"museum":126,"description":7532,"tags":7533,"thumbUrl":7536,"material":30,"size":30,"collection":216,"collections":7537,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},242193,"feng-shu-tie-yi-ming-242193","凤墅帖","此作大字开张雄阔，用笔朴拙沉厚，结体宽博方正。字里行间自带磅礴开张的庙堂气象，笔画斩截爽利，起收可见筋骨力道，捺笔舒展大气，尽显堂堂正正的沉稳姿态。黑底白字古意盎然，拓印的斑驳痕迹，更添岁月沉淀的厚重质感，将书写的笔力与刻石的劲挺融为一体，每一字都如敦实古松，沉稳刚健，尽显正大雄浑的书风气质。",[25,26,24,7,45,737,7534,7535],"刚健","雄浑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bddff7a947ed87cbeb401197e5b24.jpg",[216],{"id":7539,"slug":7540,"title":7541,"dynasty":194,"author":658,"museum":126,"description":7542,"tags":7543,"thumbUrl":7545,"material":30,"size":30,"collection":216,"collections":7546,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},242185,"guo-gong-miao-bei-yi-ming-242185","郭公庙碑","此拓本为颜体楷书典范，字势宽博雄强，笔画苍劲朴拙。每一字皆敦实沉稳、筋骨内含，刚柔并济间尽显庙堂碑刻的庄重肃穆。碑石斑驳残损的痕迹晕开岁月沉淀的古拙苍茫，黑底白字明暗相生，将盛唐楷书的雄浑气象凝于纸间，旧拓的古朴质感裹着厚重金石韵味，让唐楷的不朽风神历久弥新。",[541,407,25,7,24,1463,1646,7544],"书体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fac48d641e345fa3cce17023acc4992.jpg",[216],{"id":7548,"slug":7549,"title":7550,"dynasty":155,"author":658,"museum":126,"description":7551,"tags":7552,"thumbUrl":7553,"material":30,"size":30,"collection":216,"collections":7554,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},242184,"long-gong-si-bei-yi-ming-242184","龙宫寺碑","此行书碑拓笔力雄健舒展，结体雍容开张。点画筋骨内含，刚柔相济，既恪守唐楷端稳法度，又不失行书的飘逸意趣。版面字列排布齐整又暗含错落变化，黑底白字对比强烈，碑面残泐更添古拙苍浑的金石气韵，沉厚朴茂间尽显庙堂雅正之风。斑驳痕迹载着岁月质感，将大唐行书碑刻的典型风神留存，让书法意趣与金石质感交融，尽显沉凝古雅的传世魅力。",[25,24,7,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd392bfae3e967899cdbdf7b3cd615da.jpg",[216],{"id":7556,"slug":7557,"title":7558,"dynasty":1200,"author":658,"museum":126,"description":7559,"tags":7560,"thumbUrl":7561,"material":30,"size":30,"collection":216,"collections":7562,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},242183,"yan-chi-ling-qing-gong-song-yi-ming-242183","盐池灵庆公颂","此碑刻拓本书风取法晚唐楷书风尚，笔力斩钉截铁，瘦硬遒劲，骨力洞达。字形中宫紧敛，四围舒展，欹正相生，既有庙堂碑版的端严庄重，亦不失灵动变化。墨色沉凝苍润，字口虽经岁月磨泐，仍尽显锋芒，笔画间刚正雄强的气度扑面而来，将唐代楷书尚法精工的风神诠释尽致，每一字皆如刀削斧凿，筋骨尽显，古意盎然，留存着端庄方正的大唐书法余韵。",[25,24,7,407,1422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16855ac8ca85553c3f43deef5445061f.jpg",[216],{"id":7564,"slug":7565,"title":7566,"dynasty":155,"author":7567,"museum":126,"description":7568,"tags":7569,"thumbUrl":7570,"material":135,"size":136,"collection":30,"collections":7571,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},241691,"yu-zhi-sheng-jing-song-ce-yong-xi-241691","御制盛京颂册","永锡","爱新觉罗·永锡（1753年—1821年），满洲正蓝旗人，爱新觉罗氏。肃武亲王豪格后裔、显密亲王爱新觉罗·丹臻孙，奉国将军爱新觉罗·成信（丹臻第二子）第五子。",[45,7,97,674,24,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f4c3859e844b9b62ecebee64cc5.jpg",[],{"id":7573,"slug":7574,"title":7575,"dynasty":155,"author":1241,"museum":126,"description":2023,"tags":7576,"thumbUrl":7577,"material":135,"size":136,"collection":30,"collections":7578,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},241675,"yu-zhi-shi-wen-shi-er-shou-ce-qian-long-241675","玉卮释文诗二首册",[44,24,45,7,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86a722c73e9f3da8c3f43badc72519d.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":59,"author":658,"museum":126,"description":7583,"tags":7584,"thumbUrl":7585,"material":135,"size":136,"collection":30,"collections":7586,"showCount":241,"zanCount":11,"manua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譬喻品第三",[23,81,7,24,83,185,212,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c465e9a10c828e553b45865515d32.jpg",[],{"id":7990,"slug":7991,"title":7992,"dynasty":18,"author":658,"museum":126,"description":7993,"tags":7994,"thumbUrl":7995,"material":135,"size":136,"collection":30,"collections":7996,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":34},227232,"miao-fa-lian-hua-jing-an-le-xing-pin-di-shi-si-yi-ming-227232","妙法莲华经安乐行品第十四","“安乐行”就是“菩萨行”；“菩萨行”也就是“安乐行”。安，就是安居到这个行上；乐，就是快乐；快乐安居，是菩萨所修的这个行门。这个安，是身也安、心也安，身心都安居在所行菩萨道的这种境界上。不但安居在这种境界上，而且还快乐；怎么会快乐呢？因为自己所欢喜，欢喜行这种菩萨道。怎么会安乐呢？因为坐如来座、着如来衣、入如来室，修这种安乐的行，这是行菩萨道必须要经过的一条路，所以这叫做“安乐行品”，这是第十四。",[23,406,44,81,212,83,7,97,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d641adbaea93e07a16f3df5ea75121f.jpg",[],{"id":7998,"slug":7999,"title":8000,"dynasty":18,"author":658,"museum":126,"description":8001,"tags":8002,"thumbUrl":8003,"material":30,"size":30,"collection":30,"collections":8004,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},227088,"tang-zu-jun-fu-ren-yang-shi-mu-zhi-ming-yi-ming-227088","唐祖君夫人杨氏墓志铭","郑国夫人（？-722年），本姓杨氏，弘农华阴（今陕西省华阴市）人。唐朝外戚，雍县丞杨宏的女儿，武则天母亲的家族晚辈。\n武周时期，嫁给恒安王武攸止，生下二子一女。随着女儿成为唐玄宗时期宠爱的武惠妃，获封郑国夫人。\n开元十年，去世，安葬于少陵原。",[23,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e644055fdd50210faee1a5e24ede14.jpg",[],{"id":8006,"slug":8007,"title":8008,"dynasty":18,"author":658,"museum":1340,"description":4742,"tags":8009,"thumbUrl":8010,"material":135,"size":136,"collection":30,"collections":8011,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},226334,"ku-yong-dao-nan-bi-yi-ming-226334","窟甬道南壁",[4744,97,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf088dd188cabbf9d30944d8b008c3ce.jpg",[],{"id":8013,"slug":8014,"title":8015,"dynasty":155,"author":554,"museum":126,"description":555,"tags":8016,"thumbUrl":8017,"material":135,"size":136,"collection":30,"collections":8018,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},224202,"shu-qian-long-yu-zhi-yong-shi-er-chen-ben-zi-ti-si-ku-quan-shu-cheng-shan-liang-guo-zhi-224202","书乾隆御制用十二辰本字题四库全书成扇",[1014,24,44,1244,7,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b23a8a7f55e01c553bbd058cb20443.jpg",[],{"id":8020,"slug":8021,"title":8022,"dynasty":155,"author":5704,"museum":126,"description":8023,"tags":8024,"thumbUrl":8025,"material":30,"size":30,"collection":30,"collections":8026,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},224156,"jie-lin-huang-ting-jing-li-quan-ming-er-tie-ce-zhang-zhao-224156","节临黄庭经醴泉铭二帖册","落笔温润秀雅，点画间带着晋唐散淡意趣，虽为临作，却融入自运风神。行笔舒展利落，牵丝映带自然妥帖，不见滞碍。\n\n题字与朱红印信错落排布，墨色浓淡相宜，朱墨交织古雅沉静。文辞评说书道，笔墨呼应文心，将论书意趣与书写韵致融为一体。\n\n整体形制小巧隽秀，既有临摹的谨严，又不失随性的文人雅韵，方寸之间尽显清和端雅的书卷之气，尽显小品手卷的雅致情致。",[23,24,160,45,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b216d502eb8262aaced0852b02d17b.jpg",[],{"id":8028,"slug":8029,"title":8030,"dynasty":194,"author":8031,"museum":126,"description":8032,"tags":8033,"thumbUrl":8034,"material":30,"size":30,"collection":30,"collections":8035,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":73},222389,"shu-shi-wen-peng-222389","书诗","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭为明代画家文徵明之子，文彭少承家学，初学钟（繇）王（羲之），后效怀素，自成一家。晚年全力倾于孙过庭，篆、隶最见精粹，曾书《古诗十九首卷》，并有嘉靖三十年（1551）《题仇十洲摹本清明上河图记》。尤精篆刻，风格工稳，与何震并称“文何”。原多作牙章，亲自落墨，请南京李石英镌刻。后得灯光石，乃多刻石章，为后世所宗，称为文人流派印章之“开山鼻祖”。传世画作有隆庆六年（1572）作《兰竹图》卷，图录于《晋唐五代宋元明清书画集》《兰花图》轴现藏故宫博物院。嘉靖四十一年（1562）作《墨竹图》轴，自题：“我爱江南小满天，繁花销尽竹娟娟。北窗自展南华读，时有凉风到枕边。文彭写寄方壶先生，壬戌端阳日。”现藏广东省博物馆。亦能诗，著有《博士诗集》。\n初学钟、王，后效怀素，晚年则全学过庭，而尤精于篆、隶。索书者接踵不断。其父以书名当代，然有时不乐书，虽权贵人不敢强。彭手不停挥，求者无不当意。工刻印，后人奉为金科玉律。所作多牙章，往往自落墨而命金陵人李文甫镌之。李善雕箑边，其所镌花卉，皆玲珑有致，彭以印属之，辄能不失笔意，故其牙章半出李手。彭后在南监时得灯光石，乃不复治牙，于是冻石之名，始艳博于世。写墨竹，老笔纵横，直入文同之室。山水苍郁似吴镇。亦善写花果。卒年七十六。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。\n文彭草书闲散不失章法，错落有致，神采风骨，兼其父文徵明和孙过庭之长，甚见功力。善写墨竹，老笔纵横，直入文同之室。亦工山水，所作类父风，花果亦佳。精书法，与何震（字主臣、长卿，号雪渔）并称“文何”。文彭书《岳阳楼记》，取法北宋书法家黄庭坚。传世作品有辽宁博物馆藏的《小楷赤壁赋》，故宫博物院藏的《行草五律诗》轴，上海博物馆藏有《隶书有美堂记》等19幅隶、行、草书作品，文彭亦擅绘画，作品不多。\n文彭篆刻秀丽典雅，风格妍媚清新。他的朱文章法疏朗，在宋、元圆朱文的基础上加以变化，篆法略呈方，显得质朴浑厚。他另一种朱文，纯用方折结构，可能是受汉印的影响。由于他刻印讲究六书，篆文不涉怪诞，又能向秦、汉玺印汲取营养，因而他的印章在当时确使印坛面目为之一新。冻石便于镌刻，印章的边款也可以由作者自己镌刻。他的边款是先在石面上书写行楷书，再依字迹用双刀刻成。在文彭、何震的倡导和影响下，一时篆刻之风大起，文人、书法家和画家都参加篆刻创作，文彭成为文人篆刻流派的先导。苏州一带学习文彭的有陈万言、李流芳、归昌世、顾听等，后人称他们为吴门派。\n文彭在印学上的地位要比在书法上高得多,他是公认的明清流派篆刻的开山祖师。真正有史料记载第一个用青田石治印的是明代国子监博士文彭，他在南京任职时，有一天偶遇一位卖青田石的老汉，买下了四筐石头，回家锯开一看，灯光下奇石晶莹剔透，成了一方方晶莹夺目的图章，其中质优者，就是半透明的“灯光冻石”，稍差者，也是当时的老坑矿石。从此他治印不再用象牙而用青田石了。于是冻石之名始见于世，名传四方。在印章流派艺术的历史上，文彭堪称鼻祖。从此，文人学士便逐渐改用石章，自篆自刻。由于石章的广为使用，对篆刻艺术的发展起了很大的催化作用。明代著名篆刻家朱简描述：“自三桥下，无不从斯、籀，字字秦汉，猗欤盛哉！”可见文人流派篆刻艺术发展史上文彭的重要地位。文彭以后，印学大发展，四百年来，影响遍及海内外。文彭是明代江南四大才子之一文征明的长子，家学渊博，才华出众，诗文、书画、篆刻均有造诣，被后人尊为我国篆刻艺术的开山鼻祖。文彭用青田石治印，结束了我国2000多年的铜印时代，进入了以文士为主体、个性为特征、名家辈出的石章时代。由于文彭的影响,加上石质印章本身具有的优越性,以石治印便在文人中很快地流行开来。\n文彭用冻石刻印，并首创印章边款，改变了元代以来板滞纤弱的弊病，恢复了汉印传统，他和何震提出篆刻应以六书为准则，并努力创作实践，取得了空前的成就，开创了文人自篆自刻并与书画三足鼎立的局面，文人掀起了学习篆刻的热潮。有很多人专学文彭，后人称“吴门派”；有些人则学何震，后人称“徽派”或“皖派”。\n他的篆刻具有开朝华而启夕秀的承上启下的意义，作品以安逸典雅、沉静清丽为基调，白文刻意追溯汉法，朱文则取宋元遗风而自出新意。文彭还创立了明代的第一个篆刻流派--吴门派，或称三桥派，该派的健将主要有陈万言、李流芳、归昌世等。他的篆刻作品，在当时没有编过印谱，原作存世极少，而张灏在万历年间把所藏印编为《承清馆印谱》，收有文彭刻的白文印十九方，但这些印章原石，至今未曾发现。作为书画地位均很高的两京国博，文彭对篆刻的提倡与参与，对于初创阶段的篆刻艺术，其意义是巨大的。　文彭对于篆刻艺术的杰出贡献是毋庸置疑的。他开倡明清篆刻的风气，曾直接和间接地影响了以后篆刻流派的形成和发展，功莫大焉。然而过去我们对其人其艺却所知甚少，这不能不说是明清篆刻史研究中的一桩缺憾。笔者通过研究，对过去对文彭的一些错误认识，进行了必要的澄清，对其在篆刻史上的地位和贡献，进行了较为接近真实的评价。",[23,24,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b42e92325501be43c0dca3b9d6f6fa9.jpg",[],{"id":8037,"slug":8038,"title":8039,"dynasty":194,"author":1034,"museum":1035,"description":1036,"tags":8040,"thumbUrl":8041,"material":625,"size":1039,"collection":30,"collections":8042,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":3705},222281,"nan-hua-zhen-jing-34-wang-chong-222281","南华真经34",[23,44,24,7,83,185,46,45,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9757f37471c4936ee85c52d756bbd6c3.jpg",[],{"id":8044,"slug":8045,"title":8046,"dynasty":194,"author":1034,"museum":1035,"description":1036,"tags":8047,"thumbUrl":8048,"material":625,"size":1039,"collection":30,"collections":8049,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":3705},222249,"nan-hua-zhen-jing-2-wang-chong-222249","南华真经2",[23,24,83,364,46,44,185,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5616abf90a145e38681e7d5d5fad9204.jpg",[],{"id":8051,"slug":8052,"title":8053,"dynasty":59,"author":658,"museum":126,"description":8054,"tags":8055,"thumbUrl":8056,"material":30,"size":30,"collection":30,"collections":8057,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},221218,"za-a-han-jing-juan-di-san-shi-jiu-juan-yi-ming-221218","雜阿含經卷第三十九卷","《别译杂阿含经》为《杂阿含经》的别译本，共二十卷（《大正藏》分作十六卷，二诵，三六四经），其内容相当于《杂阿含经》〈八众诵〉的全部偈颂，以及〈如来所说诵〉的一部分",[23,24,83,185,81,7,491,492,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10870316e9b703f9170a3f5c7719bc5.jpg",[],{"id":8059,"slug":8060,"title":8061,"dynasty":155,"author":8062,"museum":2417,"description":8063,"tags":8064,"thumbUrl":8066,"material":8067,"size":8068,"collection":30,"collections":8069,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":30},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 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依旧清晰可观，行行字句间藏着书写时的沉静心力，尽显佛典传抄的庄严质朴，承载着千年前的信仰温度，是佛教文献流传的珍贵实物。",[81,24,83,7,1561,212,185,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0117f3aeca50bb6210a31e3696995322.jpg",[],{"id":8703,"slug":8704,"title":8705,"dynasty":1200,"author":658,"museum":126,"description":8706,"tags":8707,"thumbUrl":8709,"material":135,"size":136,"collection":30,"collections":8710,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287821,"juan-xia-shou-gao-yi-ming-287821","卷下手稿","此作为小楷写经卷，笔致精整匀净，点画清劲凝练，起收间恪守写经法度，顿挫含藏，骨力内蕴。通篇字距排布森然有序，行气贯通如一，带着宗教文本特有的沉静端严。墨色乌亮莹润，泛黄素纸衬出笔墨的沉厚质感，岁月流转仍神采不减。书写者以恭谨之心落墨，既严守写经的庄严程式，又在细微撇捺间流露笔底温润情致，法度与文心相融，将经文的肃穆与书法的雅正合而为一，尽显古韵盎然的写经意趣。",[81,24,83,7,1561,663,8708],"手抄典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7b045754da7d3f8a256fa448002725.jpg",[],{"id":8712,"slug":8713,"title":8714,"dynasty":1200,"author":658,"museum":126,"description":8715,"tags":8716,"thumbUrl":8717,"material":135,"size":136,"collection":30,"collections":8718,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287820,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287820","四分律刪繁補闕行事鈔卷第三大乘起信論注-","这卷小楷长卷气脉贯通，通篇行距字距匀整秀雅，尽显写经的典型风貌。行笔温润内敛，点画精劲妥帖，字字安稳端凝，不见一丝懈怠涣散，足见抄经人功底扎实，更将肃穆恭敬的心境融于笔端。朱笔圈点批注错落行间，墨朱相映，既是读经时的思索留痕，更为素净卷面添了灵动层次，让整卷作品兼具书法审美意趣与文献价值，静静诉说着抄经时沉潜专注的岁月质感。",[81,24,83,7,6093,663,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b47632c05274ab6dddd6b4dfa1b460.jpg",[],{"id":8720,"slug":8721,"title":8665,"dynasty":1200,"author":658,"museum":126,"description":8722,"tags":8723,"thumbUrl":8724,"material":135,"size":136,"collection":30,"collections":8725,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":54},287818,"fu-shuo-zhai-jing-juan-yi-ming-287818","此卷写经以精谨小楷书就，笔致清劲端雅，结体匀整秀逸，尽显写经书法的庄严恭谨。通篇字距行距排布齐整，墨色沉凝饱满，古纸虽岁久泛黄，却晕染出沉静肃穆的古雅氛围。\n\n笔墨间饱含敬虔之心，一笔一划恪守法度，兼具魏晋写经的简淡古雅遗韵与后世抄经的规整工稳。将宗教的肃穆感融于笔墨细节，质朴静雅间尽显写经人对佛法的至诚之心，是极具代表性的民间写经佳品。",[23,24,81,83,7,212,1561,185,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445c8e5fcc14b2abfa6db71d5f455cc3.jpg",[],{"id":8727,"slug":8728,"title":8729,"dynasty":1200,"author":658,"museum":126,"description":8730,"tags":8731,"thumbUrl":8732,"material":135,"size":136,"collection":30,"collections":8733,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287817,"shi-di-yi-shu-juan-di-san-yi-ming-287817","十地義疏卷第三","此卷写经小楷劲挺内敛，点画匀净利落，通篇排布紧凑却不显壅塞，行气贯通悠长。字迹端稳秀雅，既恪守写经的规整法度，又暗含文人小楷的隽逸意趣，笔墨间浸透着书写者的虔诚肃穆。\n\n纸面虽历经岁月磨洗，边缘残损、纸面蛀蚀，却晕开了古雅沧桑的氛围，残痕定格住时光流逝的印记。整卷兼具宗教文献的厚重底蕴与书法艺术的审美价值，将写经时的沉静虔敬凝于笔端，藏在每一处规整点画之中，尽显中古写经书法的典型风貌。",[23,81,24,83,7,212,1561,185,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4be89b1fb4019e5573d18c007f5a57.jpg",[],{"id":8735,"slug":8736,"title":8737,"dynasty":1200,"author":658,"museum":1558,"description":8738,"tags":8739,"thumbUrl":8740,"material":135,"size":136,"collection":30,"collections":8741,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287629,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-287629","妙法蓮華經卷第六手稿","此卷写经以淡墨书于泛黄藏经纸之上，笔势匀整秀雅，字字清劲端丽，兼具写经体的森严法度与隽逸气韵。通卷文字排布舒朗齐整，抄写一丝不苟，尽显书写者的恭谨虔诚，是佛教写本中的上乘之作。\n\n笔墨裹挟着千年梵音的沉静力量，将经文义理以笔墨具象化。虽历经岁月晕染，依旧墨色沉稳风骨宛然，静静诉说着中古时期佛教文化传布的虔敬底色，让观者于笔墨间触摸到跨越时空的信仰温度。",[24,83,7,81,212,1561,2672,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d28d176cb3b49d5a3c2bce911cd9c.jpg",[],{"id":8743,"slug":8744,"title":8745,"dynasty":1200,"author":658,"museum":1558,"description":8746,"tags":8747,"thumbUrl":8748,"material":135,"size":136,"collection":30,"collections":8749,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":54},287628,"da-bo-re-bo-luo-mi-duo-jing-juan-di-qi-shi-san-shou-gao-yi-ming-287628","大般若波羅蜜多經卷第七十三手稿","此卷小楷精雅端严，笔墨匀净沉润，历久弥新。字迹排布齐整却不失灵动，起笔收锋藏露得宜，兼具六朝写经的简古遗韵与唐楷的端整法度。抄经人以虔敬之心落墨，笔势舒展圆融，每一字都带着沉静肃穆的禅意，将经文的幽微义理融于笔底。卷面条幅舒展绵长，墨色乌亮澄澈，字里行间流淌着中古抄经特有的清雅氛围，仿佛能让观者窥见千年前青灯下，抄经人凝神落笔的静谧瞬间，体悟书法与经文合二为一的禅风雅韵。",[24,83,7,81,185,1561,2672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ea15b71ea62688481ae5ac85182dc3.jpg",[],{"id":8751,"slug":8752,"title":8753,"dynasty":1200,"author":658,"museum":1558,"description":8754,"tags":8755,"thumbUrl":8756,"material":135,"size":136,"collection":30,"collections":8757,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287625,"miao-fa-lian-hua-jing-juan-di-wu-shou-gao-yi-ming-287625","妙法蓮華經卷第五手稿","此卷小楷写经笔致精秀端雅，点画匀净工稳，结体舒展宽和，尽显恭谨肃穆的书写心境。泛黄纸面上乌丝界格规整，墨色历久莹润，字行排布齐整连贯，通篇笔势沉敛安和，不见懈怠之笔。\n\n它既恪守写经范式的庄严法度，又于细微处暗含书写者的笔底情致，将礼佛的虔诚融于毫端，承载着中古书写美学与信仰的交融，沉静肃穆的书卷气扑面而来，尽显工稳与虔敬的合一之美。",[81,24,7,83,1561,2672,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea71583ab411a487583aa903934be51a.jpg",[],{"id":8759,"slug":8760,"title":8761,"dynasty":1200,"author":658,"museum":1558,"description":8762,"tags":8763,"thumbUrl":8764,"material":135,"size":136,"collection":30,"collections":8765,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287624,"miao-fa-lian-hua-jing-juan-di-si-shou-gao-yi-ming-287624","妙法蓮華經卷第四手稿","此卷纸色黄褐晕染，带着岁月浸蚀的斑驳痕迹，通篇以端秀小楷抄就，字势匀净工稳，行气贯通舒展。抄经笔意内敛沉和，提按转折皆合法度，笔墨凝练沉静，每一字都蕴含着抄录时的敬谨之心，尽显写经书法特有的庄严端雅。\n\n经文排布齐整，墨色虽历经年深日久而淡褪，却依旧清晰可观，笔墨与经文意蕴相融，既承载着信仰的厚重，亦是书法妙品，将虔诚之心凝于笔端，晕开跨越时光的沉静古朴之气。",[81,24,83,7,1561,212,185,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3feef02ae81c26d71b277095094c2855.jpg",[],{"id":8767,"slug":8768,"title":8769,"dynasty":1200,"author":658,"museum":1558,"description":8770,"tags":8771,"thumbUrl":8773,"material":135,"size":136,"collection":30,"collections":8774,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":73},287623,"miao-fa-lian-hua-jing-juan-di-er-shou-gao-yi-ming-287623","妙法蓮華經卷第二手稿","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。",[24,83,81,7,1561,663,662,8772,5452],"手写稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb99384a1eee67eba37e36527bc929635.jpg",[],{"id":8776,"slug":8777,"title":8778,"dynasty":1200,"author":658,"museum":1558,"description":8779,"tags":8780,"thumbUrl":8784,"material":135,"size":136,"collection":30,"collections":8785,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":54},287621,"qian-shou-qian-yan-guan-shi-yin-pu-sa-guang-da-yuan-man-wu-ai-da-bei-xin-tuo-luo-jing-jing-shou-gao-yi-ming-287621","千手千眼觀世音菩薩廣大圓滿無礙大悲心陀羅經經手稿","泛黄古纸之上，唐人小楷匀整舒展，笔势沉稳端严，兼具写经体的规整法度与手写温度。墨迹浓黑鲜亮，与岁月晕染的浅褐底色相映，晕开沉静厚重的时光质感。整卷经文排布舒朗，笔锋起落间，是抄经人将虔敬心力凝注于毫端，以笔墨践行修行，一字一句皆是对信仰的诠释。长卷铺展，仿佛能窥见千年前禅堂内抄经人屏息恭书的身影，带着藏经洞封存的千年梵音余韵，是书法艺术与宗教虔诚交织的珍贵遗存。",[81,83,24,7,1561,8781,8782,5452,8783],"观世音菩萨","千手千眼观音","陀罗尼经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686ba81407a647934d8bd671660e20db.jpg",[],{"id":8787,"slug":8788,"title":8789,"dynasty":1200,"author":658,"museum":1558,"description":8790,"tags":8791,"thumbUrl":8792,"material":135,"size":136,"collection":30,"collections":8793,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":54},287618,"jin-guang-ming-zui-sheng-wang-jing-fu-jing-juan-di-er-shou-gao-yi-ming-287618","金光明最勝王經佛經卷第二手稿","这件写经以工整小楷书就，笔墨匀净秀雅，笔势恭谨端严。起收笔含蓄温润，点画排布错落合宜，字字气脉连贯。经纸虽因岁月浸染泛黄，却愈发衬出抄经人沉潜肃穆的书写心境。\n\n书写者以虔敬之心落墨，通篇排布齐整，兼具唐楷的端稳筋骨与抄经特有的内敛柔和，字里行间法度暗藏，禅意自生，将礼佛的至诚融于笔锋起落之间。整卷气息安宁沉静，尽显写经书法中和内敛的独特气质，是兼具宗教价值与书法审美意义的珍品。",[83,24,7,81,185,212,1561,2672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784c74b38128f4b67ce2410fd4e36afa.jpg",[],{"id":8795,"slug":8796,"title":8797,"dynasty":18,"author":658,"museum":126,"description":8798,"tags":8799,"thumbUrl":8800,"material":135,"size":136,"collection":30,"collections":8801,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":54},287381,"miao-fa-lian-hua-jing-di-6-ru-lai-shou-liang-pin-di-shi-liu-yi-ming-287381","妙法蓮華經第6 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文脉延续的注脚。",[23,96,44,45,160,7,161,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3245dda1919110ea50a6698ac2d3dc97.jpg",[],{"id":16003,"slug":16004,"title":16005,"dynasty":155,"author":1522,"museum":126,"description":16006,"tags":16007,"thumbUrl":16008,"material":68,"size":30,"collection":30,"collections":16009,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215762,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-25-wu-gao-zeng-215762","摹吴道子圣贤像赞图册-25","墨底之上，白描线条如银梭织就，勾勒出圣贤持卷凝思的儒雅身姿。衣袂翩然间藏吴带当风之遗韵，眉眼低垂处露沉潜向学之神情。左侧楷书题字笔力遒劲，楷法端严，与人物清逸风骨相映成趣。文图相契，于素净墨色中见醇厚底蕴，简笔勾勒里藏深情万种。每一笔线条皆为心性流露，每一字墨痕都是文脉传承。整幅作品以极简之法传递圣贤温润气象，尽显传统书画合璧的古雅韵致，让人于方寸间触摸到千年文脉的温润温度。",[23,96,44,45,949,7,161,160,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ad8eb183792efd9cb5531a7648ad2a.jpg",[],{"id":16011,"slug":16012,"title":16013,"dynasty":155,"author":1522,"museum":126,"description":16014,"tags":16015,"thumbUrl":16016,"material":68,"size":30,"collection":30,"collections":16017,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215760,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-31-wu-gao-zeng-215760","摹吴道子圣贤像赞图册-31","缁底铺陈，金毫落处字字端严。墨色如夜凝沉，金辉似星跃动，文字里的圣贤品格随笔锋漫溢。摹古之笔得前贤遗韵，虽作赞语却藏丹青风骨，每一字皆若圣贤剪影，静默间淌过千年文脉。金黑相衬的方寸间，是对先贤的追慕与传承，纸页间仿佛余温尚存，将往昔风骨凝作眼前庄严，让观者于笔墨中触到圣贤的气息。",[23,160,45,161,24,7,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c61db51ecee6190afcefcf9895002a.jpg",[],{"id":16019,"slug":16020,"title":16021,"dynasty":155,"author":1522,"museum":126,"description":16022,"tags":16023,"thumbUrl":16024,"material":68,"size":30,"collection":30,"collections":16025,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215759,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-32-wu-gao-zeng-215759","摹吴道子圣贤像赞图册-32","黑底如凝墨，金字若嵌星，竖排字迹在册页间流转，似将圣贤风骨与哲思缓缓铺展。笔墨遒劲处见敬仰，婉转处藏温情，每一字皆承载着文脉的重量。线装的古朴形制，让时光的痕迹隐约可触，典籍的温度透过纸页漫溢开来。这里不仅是书法艺术的呈现，更是文化传承的载体——圣贤的智慧借笔墨留存，传统的韵味随字迹延续，静静诉说着跨越时空的文脉回响，引人沉浸于那份庄重而悠远的文化氛围里。",[23,44,45,160,7,25,24,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c4085c365344eff9b69601cbc1874a.jpg",[],{"id":16027,"slug":16028,"title":16029,"dynasty":155,"author":1522,"museum":126,"description":16030,"tags":16031,"thumbUrl":16032,"material":68,"size":30,"collection":30,"collections":16033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215758,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-33-wu-gao-zeng-215758","摹吴道子圣贤像赞图册-33","黑底如缁，金字若曦，衬得满纸庄肃之气。笔致清劲挺拔，每一字皆如劲松立崖，风骨凛然。赞文词句间，敬仰之情沛然流转，似与圣贤隔空对语。版式对称匀整，左右文字相呼相应，尽显章法之美。沉厚的墨色与明润的金色交织，将静态的文字晕染出动态的崇敬，仿佛能听见笔尖划过纸页时，那份对先贤的追慕与礼赞。这般作品，既是文字的凝萃，亦是心意的传扬，静默中藏着千百年的文化温度。",[23,96,44,45,7,160,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105137afb197bd60a8623e5e9537d493.jpg",[],{"id":16035,"slug":16036,"title":16037,"dynasty":155,"author":1522,"museum":126,"description":16038,"tags":16039,"thumbUrl":16040,"material":68,"size":30,"collection":30,"collections":16041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215757,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-36-wu-gao-zeng-215757","摹吴道子圣贤像赞图册-36","笔墨间暗涌画圣遗风，线条如惊鸿掠影，勾勒圣贤衣袂飘举之姿——正是吴道子“吴带当风”的灵动再现。旁侧赞语墨色沉凝，小楷端雅如珠，与画像的洒脱风骨相映成趣。眉宇间的仁智之光，衣纹里的浩然之气，皆在摹笔中被细腻捕捉。图文交织处，似能触到千年前画圣挥毫的温度，也见摹者对圣贤风范的虔心追慕。纸页虽旧，却让圣贤形象在笔墨传承里鲜活如初，每一笔都是跨越时空的对话，每一线都藏着对经典的致敬，静静诉说着古今文人对圣贤风骨的永恒向往。",[23,155,160,45,25,24,7,161,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25418733c3cb739656c50f7d5b5e53.jpg",[],{"id":16043,"slug":16044,"title":16045,"dynasty":155,"author":1522,"museum":126,"description":16046,"tags":16047,"thumbUrl":16048,"material":68,"size":30,"collection":30,"collections":16049,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215756,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-34-wu-gao-zeng-215756","摹吴道子圣贤像赞图册-34","墨线流转间，吴带当风的韵致依稀可辨。圣贤仪态肃穆端方，眉宇间凝着千古仁智的光。黑底衬白字，笔力沉雄苍劲，赞文辞藻典雅蕴藉，与画像相映成趣，似在低语先贤的嘉言懿行。摹本虽承后世之笔，却将盛唐画圣的笔意与圣贤气象凝于尺幅。纸页间漫溢着古雅书卷气，每一笔都浸透着对先贤的敬仰。书画合璧，笔墨与文字交织成网，牵引观者触摸圣贤的精神脉络，是承载文化记忆的瑰宝，尽显传统艺术的厚重与温度。",[23,24,7,160,45,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35f95ca3145a4c5d738009475f407c5.jpg",[],{"id":16051,"slug":16052,"title":16053,"dynasty":155,"author":1522,"museum":126,"description":16054,"tags":16055,"thumbUrl":16056,"material":68,"size":30,"collection":30,"collections":16057,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215754,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-37-wu-gao-zeng-215754","摹吴道子圣贤像赞图册-37","黑底如墨凝，金字似鎏金，对比间尽显古雅厚重。笔力端严中藏秀韵，结构谨密里透风骨，每一字皆含对圣贤的崇仰之情，传递儒家仁礼之道的深邃。版式规整，章法有序，行款疏密得宜，墨色沉凝与金粉璀璨交相辉映，既有庙堂庄严肃穆，又具文苑清雅韵致。仿佛能透过纸面，窥见圣贤精神风貌，触摸穿越时空的文化温度，令人心安神静，顿生敬畏与向往，沉醉于这份跨越千年的人文情怀里。",[23,96,44,45,160,949,97,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F448fecc1eaaa018485251ea67da08ea6.jpg",[],{"id":16059,"slug":16060,"title":16061,"dynasty":155,"author":1522,"museum":126,"description":16062,"tags":16063,"thumbUrl":16064,"material":68,"size":30,"collection":30,"collections":16065,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215750,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-42-wu-gao-zeng-215750","摹吴道子圣贤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