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，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[23,215,79,122,217,62,216,260,222,261,220,96,7,61],"山峦","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],33,{"id":266,"slug":267,"title":268,"dynasty":142,"author":19,"museum":20,"description":269,"tags":270,"thumbUrl":271,"material":182,"size":183,"collection":31,"collections":272,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":69},226522,"san-guo-wei-huang-nv-can-bei-yi-ming-226522","三国魏皇女残碑","此碑为隶书撰刻",[23,26,25,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942120fc2104c286911adf161e2542eb.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":54,"author":190,"museum":20,"description":277,"tags":278,"thumbUrl":279,"material":31,"size":31,"collection":31,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":282},230855,"lian-jin-nong-230855","联","此作以漆书成字，用墨浓重如泼，字形方朴奇崛似刀削斧凿，笔力苍浑老辣。每字排布开张错落，“非”字敦厚沉凝，“佛”“仙”字形简古开张，钝重横画与尖劲出锋形成强烈反差，尽显汉碑古拙气度。左侧题款以灵动草书搭配，与正文沉厚漆书形成动静对照，拙雅相映，自带金石意趣。\n\n整体苍古高华，将隶书的庄重浑穆与个人奇逸审美相融，自出机杼，尽显碑学风尚下的艺术新意，朴茂沉雄之间藏着清逸古雅的文人意趣。",[25,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf774f2af00992fdf4d936d7ab248b5.jpg",[],32,"F48FB1",{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":287,"tags":288,"thumbUrl":291,"material":182,"size":183,"collection":31,"collections":292,"showCount":281,"zanCount":34,"manualWeight":11,"mainColor":69},226539,"xi-ping-shi-jing-shang-shu-can-shi-yi-ming-226539","熹平石经尚书残石","汉代地下墓室、墓地祠堂、墓阙和庙阙等建筑上雕刻画像的建筑构石。所属建筑，绝大多数为丧葬礼制性建筑，因此，本质上汉画像石是一种祭祀性丧葬艺术。画像石不仅是汉代以前中国古典美术艺术发展的巅峰，而且对汉代以后的美术艺术也产生了深远的影响，在中国美术史上占有承前启后的重要地位。",[23,24,7,26,25,247,289,147,290],"残石","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf339de84418cccc449d6a629987a275.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":40,"author":201,"museum":56,"description":297,"tags":298,"thumbUrl":299,"material":82,"size":300,"collection":31,"collections":301,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":69},222457,"li-shu-gui-qu-lai-ci-zhou-shen-du-222457","隶书归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[78,25,122,60,7,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f51da867c7f977aefcd7184026e97.jpg","52 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24.6cm",[],{"id":303,"slug":304,"title":305,"dynasty":54,"author":190,"museum":306,"description":307,"tags":308,"thumbUrl":310,"material":311,"size":312,"collection":31,"collections":313,"showCount":314,"zanCount":34,"manualWeight":11,"mainColor":35},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌","天津博物馆","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,122,25,60,7,61,309],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","绢本","122x40.7",[],31,{"id":316,"slug":317,"title":318,"dynasty":54,"author":119,"museum":75,"description":319,"tags":320,"thumbUrl":321,"material":82,"size":322,"collection":66,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":282},241375,"lu-you-shi-zhou-zheng-fu-241375","陆游诗轴","此轴书录唐代诗人王建七言诗《上李吉甫相公》，自识：“王建上李吉甫相公。谷口郑簠书。”下钤“郑簠之印”、“谷口农”印二方。具体书写时间不详。本幅无藏印。\n此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔划的粗细及运笔却极富变化，舍汉隶之方正而求“盘盂跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息。此轴代表了郑簠隶书的典型风格，此种书风虽然减弱了汉隶的博大与庄重，但对于开创清代隶书的新风格却具有十分重要的意义。",[25,7,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa883f1071fd67d1a92eba35d1d693aa6.jpg","纵202.2厘米，横96.9厘米",[66],29,{"id":326,"slug":327,"title":328,"dynasty":54,"author":329,"museum":330,"description":331,"tags":332,"thumbUrl":333,"material":82,"size":31,"collection":66,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":69},240880,"he-shao-ji-qi-yan-lian-he-shao-ji-240880","何绍基七言联","何绍基","湖南省博物馆","何绍基对篆书的书法创作是比较得心应手的。在其传世墨迹中，这类作品不仅数量多，而且品位高。体势上，大篆小篆都写；书写形式上，书联、屏条、横幅等都具备，如篆书七言联：“红树雁声当夕起，黄河诗思共秋高”。结构谨严，布局沉稳，用笔挥洒自如，且富有变化，颇具韵味。",[59,25,96,7,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d97c3839637aa2e9d8adb69afd994e.jpg",[66],28,{"id":337,"slug":338,"title":339,"dynasty":54,"author":190,"museum":340,"description":307,"tags":341,"thumbUrl":342,"material":82,"size":343,"collection":31,"collections":344,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":69},222704,"shu-fa-li-zhou-jin-nong-222704","书法立轴","上海朵云轩",[23,134,25,60,193,7,248,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e06d86f797680d46d9d80a553a1685.jpg","122×45cm",[],{"id":346,"slug":347,"title":348,"dynasty":54,"author":190,"museum":20,"description":191,"tags":349,"thumbUrl":350,"material":182,"size":183,"collection":31,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":69},240578,"shen-zhou-xu-shi-zhou-jin-nong-240578","沈周叙事轴",[25,7,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe156db587f690f2f7db18a58fdcf2282.jpg",[],26,{"id":354,"slug":355,"title":356,"dynasty":18,"author":19,"museum":20,"description":357,"tags":358,"thumbUrl":359,"material":182,"size":183,"collection":31,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":35},287379,"fei-zhi-bei-yi-ming-287379","肥致碑","汉碑(音hàn bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[25,7,26,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333bf7daac6ef1f785f91b305294f68.jpg",[],25,{"id":363,"slug":364,"title":365,"dynasty":40,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":368,"material":31,"size":31,"collection":46,"collections":369,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":49},242215,"dong-han-li-qi-bei-yi-ming-242215","东汉礼器碑","此作为汉隶经典拓本，笔画瘦硬挺拔，波磔如燕尾舒展，刚柔相济。结体严谨匀整，间架开合有度，疏密排布精妙，尽显端庄雅正的庙堂之气。墨色沉郁浓厚，碑石残损处晕开斑驳古意，为字迹添上岁月的苍茫质感，线条间藏着朴茂高华的金石气韵，将汉隶方整秀逸的风神展露无遗，是隶书成熟时期的极致范本。",[25,26,7,44,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2ec9b1bb2dc1b386602b3b05636351.jpg",[46],{"id":371,"slug":372,"title":373,"dynasty":54,"author":374,"museum":56,"description":375,"tags":376,"thumbUrl":377,"material":378,"size":379,"collection":66,"collections":380,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":69},240279,"wu-yan-lian-huang-yi-240279","五言联","黄易","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[134,25,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","水墨纸本","108.5×24cm",[66],{"id":382,"slug":383,"title":384,"dynasty":54,"author":190,"museum":385,"description":386,"tags":387,"thumbUrl":388,"material":389,"size":390,"collection":31,"collections":391,"showCount":392,"zanCount":11,"manualWeight":11,"mainColor":69},233857,"mei-hua-ce-jin-nong-233857","梅花册","美国大都会艺术博物馆","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[215,122,179,62,309,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4778566cb3397349972119e2d926f2a8.jpg","纸本墨笔","25.4cm ×29.8cm",[],24,{"id":394,"slug":395,"title":396,"dynasty":54,"author":55,"museum":20,"description":397,"tags":398,"thumbUrl":399,"material":182,"size":183,"collection":31,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":49},288095,"zuo-tai-yuan-chuan-deng-shi-ru-288095","作太元传","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[25,7,43,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3e0de4296c6f6741794c1ea0aee04f.jpg",[],22,{"id":403,"slug":404,"title":405,"dynasty":54,"author":119,"museum":20,"description":406,"tags":407,"thumbUrl":417,"material":82,"size":322,"collection":66,"collections":418,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":35},241563,"qi-yan-shi-zhou-zheng-fu-241563","七言诗轴","此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔画的粗细及运笔却极富变化，舍汉隶之方正，而求“盘于跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息，代表了郑簠隶书的典型风格。\n郑簠（1622-1694年），字汝器，号谷口，清代上元（今江苏南京）人。工书法，尤以隶书擅名于清初书坛。其隶书初学明代宋珏，后专意于《曹全碑》，并在隶书中融入草书笔法，形成疏宕纵逸、顿挫飞扬的独特风格，对清代隶书产生很大影响。包世臣将其书列为“逸品上”，时有“谷口八分古今第一”之誉。",[7,25,60,61,408,409,410,411,412,413,414,415,416],"山堂","白云","飞絮","鹤","落叶","秋风","柏子","石","水湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12525d09d8811e336635d39972f7289.jpg",[66],{"id":420,"slug":421,"title":422,"dynasty":54,"author":119,"museum":20,"description":423,"tags":424,"thumbUrl":425,"material":182,"size":183,"collection":31,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":428},288178,"xie-ling-yun-shi-shi-shan-shi-zheng-fu-288178","谢灵运石室山诗","郑簠（1622～1693）清代书法家。字汝器，号谷口，江苏上元(今南京）人。原籍福建莆田，明洪武间祖父一辈迁至金陵（今江苏南京）。为名医郑之彦次子，深得家传医学，以行医为业，终学不仕，工书，雅好文艺，善收藏碑刻，尤喜汉碑。",[25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50297e2f85a6045b7ddbebeae4795c33.jpg",[],21,"FFFFFF",{"id":430,"slug":431,"title":432,"dynasty":54,"author":433,"museum":20,"description":434,"tags":435,"thumbUrl":438,"material":82,"size":31,"collection":66,"collections":439,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":69},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[122,25,44,96,95,436,7,97,62,82,61,437],"篆书","屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[66],{"id":441,"slug":442,"title":443,"dynasty":18,"author":19,"museum":20,"description":357,"tags":444,"thumbUrl":445,"material":182,"size":183,"collection":31,"collections":446,"showCount":427,"zanCount":34,"manualWeight":11,"mainColor":69},227035,"xian-yu-huang-bei-zheng-tuo-yi-ming-227035","鲜于璜碑整拓",[23,18,26,7,25,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaf530111f1f1f78168e1256dab89ff.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":54,"author":451,"museum":20,"description":452,"tags":453,"thumbUrl":454,"material":182,"size":183,"collection":31,"collections":455,"showCount":456,"zanCount":11,"manualWeight":11,"mainColor":35},241345,"qi-yan-ju-zhou-gui-fu-241345","七言句轴","桂馥","桂馥（1736年－1805年），字未谷，一字冬卉，号雩门，别号萧然山外史，山东曲阜人，清朝政治人物、学者，同进士出身。",[25,60,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c32657931308d0cf984e65358bfa2.jpg",[],20,{"id":458,"slug":459,"title":460,"dynasty":54,"author":461,"museum":462,"description":463,"tags":464,"thumbUrl":471,"material":82,"size":472,"collection":66,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":69},241394,"qi-jue-zhou-zhao-zhi-chen-241394","七绝轴","赵之琛","南京博物院","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[25,7,436,60,465,466,467,468,469,470],"笔墨","寒景","清风","飞","泉","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[66],19,{"id":476,"slug":477,"title":478,"dynasty":54,"author":479,"museum":20,"description":480,"tags":481,"thumbUrl":482,"material":182,"size":183,"collection":31,"collections":483,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":69},240848,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240848","伊秉绶五言联","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[54,25,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86dc31ec88585937498c6737eb8c39.jpg",[],{"id":485,"slug":486,"title":478,"dynasty":54,"author":479,"museum":20,"description":480,"tags":487,"thumbUrl":488,"material":182,"size":183,"collection":31,"collections":489,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":69},240471,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240471",[25,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd3ce9877a50b33016bcecc8a616d9.jpg",[],{"id":491,"slug":492,"title":373,"dynasty":54,"author":374,"museum":20,"description":493,"tags":494,"thumbUrl":495,"material":182,"size":183,"collection":31,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":35},241199,"wu-yan-lian-huang-yi-241199","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[25,7,59,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32df7ad27e73a002c20b7597bacf1fd.jpg",[],18,{"id":499,"slug":500,"title":373,"dynasty":54,"author":479,"museum":75,"description":501,"tags":502,"thumbUrl":503,"material":82,"size":504,"collection":66,"collections":505,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":69},240691,"wu-yan-lian-yi-bing-shou-240691","释文：\n为文以载道，论诗将通禅。 书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[25,59,7,62,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[66],{"id":507,"slug":508,"title":478,"dynasty":54,"author":479,"museum":20,"description":480,"tags":509,"thumbUrl":510,"material":182,"size":183,"collection":31,"collections":511,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":69},240137,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240137",[25,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bfa546eb01321f2886a760774bd04c.jpg",[],{"id":513,"slug":514,"title":515,"dynasty":516,"author":19,"museum":20,"description":517,"tags":518,"thumbUrl":519,"material":31,"size":31,"collection":46,"collections":520,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":35},242217,"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","宋","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。",[25,26,43,44,96,7,436,97,95,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[46],17,{"id":523,"slug":524,"title":525,"dynasty":40,"author":526,"museum":20,"description":527,"tags":528,"thumbUrl":529,"material":182,"size":183,"collection":31,"collections":530,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":69},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。",[23,122,25,79,96,7,436,95,61,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":532,"slug":533,"title":534,"dynasty":40,"author":535,"museum":536,"description":537,"tags":538,"thumbUrl":539,"material":82,"size":540,"collection":66,"collections":541,"showCount":521,"zanCount":542,"manualWeight":11,"mainColor":69},222528,"san-tan-shi-juan-wang-duo-222528","三潭诗卷","王铎","辽宁省博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,25,79,7,61,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76e495d10d9e265c6a85b332c96765.jpg","横261.2，纵27.3厘米",[66],2,{"id":544,"slug":545,"title":546,"dynasty":54,"author":547,"museum":20,"description":548,"tags":549,"thumbUrl":550,"material":182,"size":183,"collection":31,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":69},241208,"jie-lin-shi-chen-bei-zhou-zhang-zu-yi-241208","节临史晨碑轴","张祖翼","张祖翼（1849~1917）字逖先，号磊盫，又号磊龕、濠庐。因寓居无锡，又号梁溪坐观老人，安徽桐城人。近代著名书法家、篆刻家、金石收藏家。",[25,7,44,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334a2da5c1f82f98d315761667bbcce1.jpg",[],16,{"id":554,"slug":555,"title":556,"dynasty":54,"author":557,"museum":20,"description":558,"tags":559,"thumbUrl":561,"material":182,"size":183,"collection":31,"collections":562,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":35},241205,"lu-wen-heng-di-yun-sheng-241205","录文横","翟云升","翟云升（1776年－1860年），字舜堂，号文泉，山东掖县（今莱州市）人、清代文字学家、音韵学家、书法家。",[25,7,62,560,61],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1c313517343a953d1b6c79162d77fd.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":40,"author":567,"museum":20,"description":568,"tags":569,"thumbUrl":570,"material":82,"size":31,"collection":66,"collections":571,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":69},240355,"shi-zhou-wen-ru-yu-240355","诗轴","温如玉","温如玉（？－？），字孟纯，湖广郧阳府郧县人，民籍，明朝政治人物。\n湖广乡试第九十名举人。嘉靖三十二年（1553年）中式癸丑科三甲第六名进士\n曾祖温聪，寿官；祖父温淮；父温昕，母左氏",[25,60,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeae85209175e7d2860acc08766e7b1.jpg",[66],{"id":573,"slug":574,"title":575,"dynasty":54,"author":576,"museum":20,"description":577,"tags":578,"thumbUrl":579,"material":82,"size":31,"collection":66,"collections":580,"showCount":552,"zanCount":34,"manualWeight":11,"mainColor":69},240061,"jie-lu-ban-biao-lie-zhuan-zhou-zhang-ting-ji-240061","节录班彪列传轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。\n张廷济的藏品上自商周下至近代，其中不少鼎彝碑版及青铜器是珍贵的罕见品。还收藏有大量周秦以来的钱币。善书画，能篆、隶，精行、楷，初规摹 游戏作梅，颇多古趣。嘉庆二十五年（一八二〇）尝仿 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年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n黃易為詩人黃樹谷之子，曾任監生、官濟寧同知。其父工篆隸，通金石。黃易繼父業，以篆刻著稱於世。隸書摹《校官碑額》，小隸有似《武梁祠題字》。精於博古，喜集金石文字，廣搜碑刻，繪有《訪碑圖》，並著《小蓬萊閣金石文字》等。故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽，與丁敬並稱“丁黃”，為“西泠八家”之一。隸書《警語》，其書筆劃圓潤平實，氣勢宏大，深得古法，是謂大家。\n因為他與丁敬都研究金石學，兼擅篆刻，當時並稱丁黃。何元錫曾將二人印稿合揖成《丁黃印譜》。\n他有小心落墨，大膽奏刀一語，深得篆刻三昧。\n傳世墨跡有《節臨石門頌軸》《隸書軸》等。關於黃易的研究，以“西泠八家”研究學者朱琪的《黃易的生平與金石學貢獻》（《西泠印社重振金石學國際學術研討會論文集》）、《黃易家世考》《黃易字號齋室圖説》系列論文最為深入，並著有《黃易研究》《黃易年譜》等書稿。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。\n卒年五十九。著《小蓬萊閣詩鈔》等。",[25,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2b8856755107c04017ba77501e242.jpg","纵123厘米，横30.5厘米",[66],{"id":695,"slug":696,"title":697,"dynasty":54,"author":698,"museum":20,"description":699,"tags":700,"thumbUrl":702,"material":182,"size":183,"collection":31,"collections":703,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":704},239880,"lin-shi-men-song-zhou-ba-wei-zu-239880","临石门颂轴","巴慰祖","巴慰祖，清（一七四四―一七九三）字予藉，一字子安，号晋堂，一作隽堂，又号莲舫，徽州歙（今黄山市歙县）人。清代篆刻家，他有《四香堂摹印》《百寿图印谱》留传，能得汉印精髓。过去因他作品极少而被列为皖派，但在战后发现的原印看来，与程邃的风格是不同的。",[25,60,44,7,701,61],"设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa052d35779b8a4d077f31b98e7cae51a.jpg",[],"FDD835",{"id":706,"slug":707,"title":708,"dynasty":54,"author":479,"museum":20,"description":480,"tags":709,"thumbUrl":711,"material":182,"size":183,"collection":31,"collections":712,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":69},232826,"jiao-wen-jiang-yi-zhi-zhai-jing-xin-yi-bing-shou-232826","较文讲艺之斋镜心",[23,54,25,7,61,710],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca004c8cfc1dcb906c4369487e6d160.jpg",[],{"id":714,"slug":715,"title":716,"dynasty":18,"author":19,"museum":20,"description":717,"tags":718,"thumbUrl":721,"material":182,"size":183,"collection":31,"collections":722,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":35},288113,"han-jian-mo-ji-yi-ming-288113","汉简墨迹","汉代的书法有两大系统，一是碑刻文字，一是简牍墨迹，它们都是在纸未发明以前或未大量使用以前的书籍文献。由于材料不同，书写的工具不同、内容不同，形制不同及书写者的身份不同，因而表现出各自不同的艺术风格。\n汉简书写的文字内容或是书信记事，或是公文报告，因而不拘形迹，草率急就者居多。汉简受简面狭长、字迹小的限制。但章法布局仍能匠心独运，错落有致，随意挥洒。\n汉简的文字，篆、隶、真、行、草（章草）各体具有。汉简在书写思想上没有受到那么多的束缚，因此，表现出丰富的创造力。",[25,7,719,147,720],"木质","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d2c75f1582ee2e8b5fbc556a2e82f2.jpg",[],12,{"id":725,"slug":726,"title":727,"dynasty":54,"author":728,"museum":20,"description":729,"tags":730,"thumbUrl":731,"material":182,"size":183,"collection":31,"collections":732,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":35},241420,"lu-wen-zhou-yao-yuan-zhi-241420","录文轴","姚元之","姚元之（1773—1852）清代官员、书画家。字伯昂，号荐青，又号竹叶亭生，晚号五不翁，安徽桐城人。嘉庆十年进士，官至左都御史、内阁学士。善画人物、果品、花卉，书法尤精隶书。姚元之与崔旭、梅成栋皆出自清代著名诗人张问陶（号船山）门下，合称“张门三才子”。",[25,60,701,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdb102f73b718a1484a4808d569f6a6.jpg",[],{"id":734,"slug":735,"title":736,"dynasty":54,"author":737,"museum":20,"description":738,"tags":739,"thumbUrl":740,"material":182,"size":183,"collection":31,"collections":741,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":69},241411,"tao-shi-zhou-zhu-wen-zhen-241411","陶诗轴","朱文震","陶渊明诗轴",[215,122,60,62,7,25,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0643380a03a28e1de425677033cb807e.jpg",[],{"id":743,"slug":744,"title":745,"dynasty":54,"author":746,"museum":20,"description":747,"tags":748,"thumbUrl":749,"material":182,"size":183,"collection":31,"collections":750,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":69},241346,"qi-lv-er-shou-zhou-wan-jing-241346","七律二首轴","万经","万经（1659—1741）清代学者。字授一，号九沙，自号小跛翁，鄞县（今浙江宁波）人，万斯大之子。\n梁同书《频罗庵书画跋》云：“其书如商彝周鼎，古色黝然；又如苍松老柏，可爱可敬。”他的隶书取法汉碑，尤醉心于《曹全碑》，去其纤秀，而得其沉雄。“云鹤梅炎”一联是他传世隶书精品之一。此联纸本，纵116、横34厘米。墨迹曾刊载于《书法丛刊》1998年第3期和文物出版社出版的《邓永清收藏明清书画选集》等。原为邓永清先生收藏，1993年捐赠徐州博物馆。\n上联“云鹤游天群鸿戏海”，语出梁武帝萧衍《古今书人优劣评》评魏钟繇书：“钟繇书如云鹤游天，群鸿戏海，行间茂密，实亦难过耶。”此文简称《书评》或《评书》，唐以前典籍未见引及，最早见于宋《淳化闻帖》卷五“隋僧智果书”。这段文字主要形容钟繇（元常）书法轻重得宜、刚柔相备、多力丰筋、古雅茂密的超妙境界。下联“梅炎藻夏”的意思是说初夏梅天的炎热装点着夏季，正与下文“麦气迎秋”成流水对仗，字句工稳，妙手天成。",[134,25,7,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41285919af94c226e2552b920de6d23a.jpg",[],{"id":752,"slug":753,"title":754,"dynasty":54,"author":55,"museum":20,"description":629,"tags":755,"thumbUrl":765,"material":182,"size":183,"collection":31,"collections":766,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor":69},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴",[25,60,7,756,757,758,759,760,761,762,763,764,61],"江","月","帆","沙","城","木","云","水","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],{"id":768,"slug":769,"title":770,"dynasty":54,"author":479,"museum":20,"description":480,"tags":771,"thumbUrl":772,"material":182,"size":183,"collection":31,"collections":773,"showCount":723,"zanCount":11,"manualWeight":11,"mainColor"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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[807,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9a55d4d4b38890d963002689c1df6d.jpg",[],7,{"id":983,"slug":984,"title":985,"dynasty":40,"author":611,"museum":20,"description":986,"tags":987,"thumbUrl":989,"material":182,"size":183,"collection":31,"collections":990,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":35},283772,"ge-ti-gu-shi-shi-jiu-shou-juan-dong-qi-chang-283772","各体古诗十九首卷","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。",[23,988,122,79,25,97,96,95,7,436,61,43],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbedbbbd514c6acbd12911211a88cf4.jpg",[],{"id":992,"slug":993,"title":994,"dynasty":54,"author":995,"museum":20,"description":996,"tags":997,"thumbUrl":999,"material":182,"size":183,"collection":31,"collections":1000,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":282},240640,"cai-ju-shi-zhou-wang-shi-shen-240640","采菊诗轴","汪士慎","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[215,122,60,7,25,61,998],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7013aaead7417accf1aca2a935dbf5.jpg",[],{"id":1002,"slug":1003,"title":1004,"dynasty":54,"author":1005,"museum":20,"description":1006,"tags":1007,"thumbUrl":1008,"material":182,"size":183,"collection":31,"collections":1009,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":69},239879,"shi-ju-zhou-zheng-ban-qiao-239879","诗句轴","郑板桥","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[25,60,96,7,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3825c8688393765f47b4fa86c9f6a51.jpg",[],{"id":1011,"slug":1012,"title":1013,"dynasty":516,"author":19,"museum":20,"description":1014,"tags":1015,"thumbUrl":1016,"material":182,"size":183,"collection":31,"collections":1017,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":49},231077,"xi-yue-hua-shan-miao-bei-ce-yi-ming-231077","西岳华山庙碑册","此作为汉隶经典风貌，字体方整匀称，气度典雅堂皇，波磔舒展飘逸，尽显庙堂隶书端严正大的气象。墨色沉郁古厚，字口虽有残泐，却更添金石沧桑，朴茂雄浑的气韵扑面而来。\n\n笔画粗细有致，蚕头燕尾极具装饰意趣，结构端稳又不乏灵动变化。残损字痕沉淀着岁月摩挲的厚重质感，带着醇厚的汉代石刻金石意趣，既有法度森严的规整之美，又不失古拙朴茂的高古意韵，将汉隶中正典雅的美学特质诠释尽致。",[26,25,7,179,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac320c4384e6c523c8f6f0c58539a72.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":54,"author":329,"museum":20,"description":594,"tags":1022,"thumbUrl":1023,"material":182,"size":183,"collection":31,"collections":1024,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":69},230200,"lin-kong-zhou-bei-yin-he-shao-ji-230200","临孔宙碑阴",[23,25,7,44,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5453a79a86999fab5e32be660c7b24b2.jpg",[],{"id":1026,"slug":1027,"title":1028,"dynasty":18,"author":19,"museum":20,"description":1029,"tags":1030,"thumbUrl":1032,"material":182,"size":183,"collection":31,"collections":1033,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":69},227014,"han-wu-feng-er-nian-ke-shi-zhou-yi-ming-227014","汉五凤二年刻石轴","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[24,25,7,26,60,1031,248],"刻石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdacca5f1d288a16f1bdfb9646df2ec.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":18,"author":19,"museum":20,"description":287,"tags":1038,"thumbUrl":1039,"material":182,"size":183,"collection":31,"collections":1040,"showCount":981,"zanCount":34,"manualWeight":11,"mainColor":35},226540,"kao-wei-wei-zhen-hou-can-shi-yi-ming-226540","考卫尉贞侯残石",[23,24,25,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa683d821fcb194aa10bc8f3c1b211251.jpg",[],{"id":1042,"slug":1043,"title":727,"dynasty":54,"author":1044,"museum":20,"description":1045,"tags":1046,"thumbUrl":1047,"material":182,"size":183,"collection":31,"collections":1048,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":69},241406,"lu-wen-zhou-fan-yong-qi-241406","范永祺","范永祺，清代藏书家。著名藏书家范钦后人，乾隆五十一年举人，工篆隶、刻印，从事以藏图籍为生，特别注重收藏明人尺牍真迹，据《鄞县通志》记载： 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采用绘画风格，但求均衡，不求对称。装饰手法也比以前增多，华丽精致，雄健豪放，是唐镜的最盛期，代表了唐镜的水平。晚唐处于衰落趋势，多为八卦镜，万字镜，有宗教意义，整个看上去，简单粗放，单调乏味。",[90,719,848,25,95,436,7,1118],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac7475659ac1057721ffccf004fe6db.jpg",[],{"id":1122,"slug":1123,"title":1124,"dynasty":54,"author":1125,"museum":20,"description":1126,"tags":1127,"thumbUrl":1128,"material":182,"size":183,"collection":31,"collections":1129,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},290489,"wu-yan-lian-li-zhou-wang-kai-yun-290489","五言联立轴","王闿运","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[60,122,25,59,7,62,61,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbe2e109c863fa20e3752256ef329b6.jpg",[],5,{"id":1132,"slug":1133,"title":1134,"dynasty":516,"author":19,"museum":20,"description":1135,"tags":1136,"thumbUrl":1137,"material":182,"size":183,"collection":31,"collections":1138,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},242423,"xi-ping-shi-jing-can-shi-yi-ming-242423","熹平石经残石","此拓本笔画方正厚重，斩截挺劲，汉隶标志性的蚕头燕尾风神宛在，尽显官方正书的沉雄端严。残片漫漶斑驳，却藏着庙堂传经的郑重法度，字里行间凝着汉代经学的厚重底色。\n\n古旧泛黄的拓纸之上，朱印琳琅排布，与黑底残字相映成趣，是历代递藏的珍贵印记，带着宋时拓工的细致用心，将千年前的金石余温留存至今。残石断痕裹挟岁月剥蚀的沧桑，每一寸笔痕都是汉隶巅峰的缩影，方寸之间，是碑刻与传拓艺术交织的千年回响，尽显古雅肃穆的金石气韵。",[26,25,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ca66ec91c94bce5453dc8ae564ade.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":40,"author":19,"museum":20,"description":1143,"tags":1144,"thumbUrl":1145,"material":182,"size":183,"collection":31,"collections":1146,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},242213,"dong-han-shi-chen-bei-yi-ming-242213","东汉史晨碑","这帧尺牍以朱红笺为底，墨色浓妍鲜亮，笔致灵动爽利。行书笔画牵丝映带，行气连贯舒展，字势欹侧错落，法度与意趣相融。排布疏密得宜，笔力劲挺暗含秀雅韵致，尽显文人尺牍往来间的随性自在。墨色细微的浓淡变化，衬着朱砂底色雅致醒目，将日常寄兴的松弛心境藏于笔墨之间，是颇具闲情逸趣的行书小品。",[25,7,26,43,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f278980065116037032c7c88b8e14e1.jpg",[],{"id":1148,"slug":1149,"title":1150,"dynasty":54,"author":19,"museum":20,"description":1151,"tags":1152,"thumbUrl":1156,"material":182,"size":183,"collection":31,"collections":1157,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},242206,"wu-liang-ci-hua-xiang-ce-yi-ming-242206","武梁祠画像册","此作为汉画像石拓本，金石朴气扑面而来。右侧画面人物张力十足，有人奋不顾身扑向火场，有人拼力拖拽至亲，将姑姊赴火救侄的孝义故事鲜活铺展。古拙的刀痕刻画出危难之际的决绝与深情，将汉代的侠气悌意凝于纸面。\n\n左侧题榜文字朴厚苍劲，与画像彼此呼应，图文合璧完整叙说这段传世典故。整体风格雄浑沉郁，带着秦汉特有的古朴厚重，刀石镌刻下的不仅是一场救火救亲的往事，更是古人心底刻入血脉的孝义风骨，让千年前的动人抉择至今仍能叩击观者心扉。",[26,7,1153,1154,1155,179],"白描","人物","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1727ed11dc485cceed7020a07468cda.jpg",[],{"id":1159,"slug":1160,"title":1161,"dynasty":54,"author":374,"museum":20,"description":493,"tags":1162,"thumbUrl":1163,"material":182,"size":183,"collection":31,"collections":1164,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":35},241417,"si-yan-lian-huang-yi-241417","四言联",[25,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d71b5086625065c2bb79a98026c856.jpg",[],{"id":1166,"slug":1167,"title":1168,"dynasty":54,"author":1169,"museum":20,"description":1170,"tags":1171,"thumbUrl":1173,"material":182,"size":183,"collection":31,"collections":1174,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},240931,"zhuan-li-jin-wen-shu-lin-jin-shi-ming-wen-shan-mian-wu-ting-kang-240931","篆隶金文书临金石铭文扇面","吴廷康","吴廷康[清]（一七九九至？）字元生，号康甫，又号赞甫，一作赞府，别号晋斋，晚号茹芝，安徽桐城人，清代官员、画家，作品有《墨林今话续编》、《迟鸿轩所见书画录》、《广印人传》、《竹刻录》、《工馀谈艺》。",[807,436,7,1172,44,61,25],"金文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8872cfee12ce9820eadecd70504ab78.jpg",[],{"id":1176,"slug":1177,"title":1178,"dynasty":54,"author":1179,"museum":20,"description":1180,"tags":1181,"thumbUrl":1182,"material":182,"size":183,"collection":31,"collections":1183,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},240919,"yang-jie-yuan-qi-lv-lin-kong-zhou-ming-ji-jin-wen-wan-shan-fan-yong-240919","杨捷元、七律、临孔宙铭及金文纨扇","范镛","范镛（1422年－？），字彦声，江西南昌府丰城县人，民籍，明朝政治人物。进士出身。江西乡试第六十三名。景泰五年（1454年），参加甲戌科会试，得贡士第一百六十一名。",[807,25,44,436,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc9a2c6ddf5a58f710b54d244ba71fa.jpg",[],{"id":1185,"slug":1186,"title":1187,"dynasty":54,"author":461,"museum":20,"description":1188,"tags":1189,"thumbUrl":1190,"material":182,"size":183,"collection":31,"collections":1191,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":69},240917,"jie-lu-xian-yang-ling-tai-bei-cheng-shan-zhao-zhi-chen-240917","节录咸阳灵台碑成扇","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。",[25,807,7,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed30968841b9d39cf05247b4b1820e2.jpg",[],{"id":1193,"slug":1194,"title":1195,"dynasty":54,"author":190,"museum":20,"description":191,"tags":1196,"thumbUrl":1197,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书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,215,122,179,25,7,62,1284,217],"山房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93847a1291f15d7feb5613cafb15c3c6.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":1290,"slug":1291,"title":1292,"dynasty":54,"author":479,"museum":20,"description":480,"tags":1293,"thumbUrl":1294,"material":182,"size":183,"collection":31,"collections":1295,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":49},288221,"guang-xiao-si-yu-zhong-xiang-ci-bei-yi-bing-shou-288221","光孝寺虞仲翔祠碑",[25,7,26,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f0de116dafdaf06b719d67f6b4173f.jpg",[],3,{"id":1298,"slug":1299,"title":1300,"dynasty":18,"author":19,"museum":20,"description":357,"tags":1301,"thumbUrl":1302,"material":182,"size":183,"collection":31,"collections":1303,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":35},287359,"zhao-yi-bei-yi-ming-287359","赵仪碑",[26,25,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c27cb46fb3795a9b49e632426a531ff.jpg",[],{"id":1305,"slug":1306,"title":1307,"dynasty":54,"author":19,"museum":20,"description":1308,"tags":1309,"thumbUrl":1313,"material":182,"size":183,"collection":31,"collections":1314,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":49},274073,"mu-bian-fang-yan-cheng-shu-diao-shi-yu-zhi-shi-gua-ping-yi-ming-274073","木边方砚丞书雕石御制诗挂屏","木框配铜质挂钮，形制雅正端方。以隶书御制诗文入雕，字形朴厚端庄，恪守隶书波磔意韵，镌刻圆润饱满，字口填色沉敛，与石面底色衬映相融。\n\n行列排布严整匀净，尽显宫廷礼制下的肃穆规整，每一处细节都暗含旧朝宫廷的审美意趣，将书法法度、镌刻工巧与装裱雅致合为一体，静穆之间晕染出传统工艺与翰墨风雅交织的沉静气韵。",[25,7,1310,719,1311,848,1312],"挂屏","石雕","御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6b975399a51130c3cc2139a23f6db.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":54,"author":1319,"museum":20,"description":1320,"tags":1321,"thumbUrl":1322,"material":182,"size":183,"collection":31,"collections":1323,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},241519,"xian-ting-shi-yi-shou-zhou-mian-qin-241519","闲庭诗一首轴","绵懃","爱新觉罗·绵勤（1768—1820），乾隆帝之孙，成亲王永瑆(乾隆帝第十一子)长子，母嫡福晋富察氏，绵懿长兄，曾被封为郡王，死后追封成郡王。",[25,7,61,60,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60b09a0213fbfb6187bf86148fc0716.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":54,"author":698,"museum":20,"description":699,"tags":1328,"thumbUrl":1329,"material":182,"size":183,"collection":31,"collections":1330,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},240653,"lin-tie-zhou-ba-wei-zu-240653","临帖轴",[25,44,60,7,61,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498d6f0690eaf6b6a2c1f8a57e28189a.jpg",[],{"id":1332,"slug":1333,"title":1334,"dynasty":54,"author":374,"museum":20,"description":493,"tags":1335,"thumbUrl":1336,"material":182,"size":183,"collection":31,"collections":1337,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":35},240637,"ba-yan-lian-huang-yi-240637","八言联",[25,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88328ff8105cdbf1507e34d9841c5560.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":54,"author":165,"museum":20,"description":1342,"tags":1343,"thumbUrl":1344,"material":182,"size":183,"collection":31,"collections":1345,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},240168,"heng-ruan-yuan-240168","横","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” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[134,25,7,560,61,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8debf37a825bd771de15794bb3448522.jpg",[],{"id":1347,"slug":1348,"title":566,"dynasty":54,"author":698,"museum":20,"description":699,"tags":1349,"thumbUrl":1351,"material":182,"size":183,"collection":31,"collections":1352,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},240015,"shi-zhou-ba-wei-zu-240015",[134,7,60,61,25,1350],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348ed6926d4ad50f30f80333cc05e344.jpg",[],{"id":1354,"slug":1355,"title":620,"dynasty":54,"author":1356,"museum":20,"description":1357,"tags":1358,"thumbUrl":1359,"material":182,"size":183,"collection":31,"collections":1360,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},240013,"qi-yan-lian-yang-xian-240013","杨岘","杨岘（1819-1896），字庸斋、见山，号季仇，晚号藐翁，自署迟鸿残叟，浙江归安（今湖州）人，清朝书法家、金石学家、诗人。",[25,59,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44c1ff69e1f8a17e4b27a5785f73317.jpg",[],{"id":1362,"slug":1363,"title":1364,"dynasty":516,"author":19,"museum":20,"description":1365,"tags":1366,"thumbUrl":1367,"material":31,"size":31,"collection":31,"collections":1368,"showCount":1296,"zanCount":11,"manualWeight":11,"mainColor":69},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）","五代 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[1576,25,7,1577,1578,1579,1580,848],"中堂","紫檀木","嵌玉","墨","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948bd249a90129c60d4095a4a137feae.jpg",[],{"id":1584,"slug":1585,"title":1586,"dynasty":54,"author":19,"museum":20,"description":1587,"tags":1588,"thumbUrl":1592,"material":182,"size":183,"collection":31,"collections":1593,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},271348,"zhu-tang-ba-duan-shi-shi-qu-shi-yan-yi-ming-271348","竹堂跋端石石渠式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[1589,1590,7,25,719,848,1591],"砚","文房用具","端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897fa56380dad4ce7de0aa432eeed530.jpg",[],{"id":1595,"slug":1596,"title":1597,"dynasty":54,"author":19,"museum":20,"description":1598,"tags":1599,"thumbUrl":1600,"material":182,"size":183,"collection":31,"collections":1601,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},271172,"hu-kai-wen-zao-jian-chu-tong-chi-wu-cun-mo-yi-ming-271172","胡开文造建初铜尺五寸墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1579,25,7,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700b9296917fbef0d2ded2ba2e9543c3.jpg",[],{"id":1603,"slug":1604,"title":1605,"dynasty":54,"author":19,"museum":20,"description":1598,"tags":1606,"thumbUrl":1608,"material":182,"size":183,"collection":31,"collections":1609,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270652,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mu-fu-rong-mo-yi-ming-270652","乾隆款御咏花卉诗墨-木芙蓉墨",[1579,7,25,1607],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d25fd22f260e36b7971447956b05ef7.jpg",[],{"id":1611,"slug":1612,"title":1613,"dynasty":54,"author":19,"museum":20,"description":1614,"tags":1615,"thumbUrl":1620,"material":182,"size":183,"collection":31,"collections":1621,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270381,"xiao-wan-kuan-xi-shan-shui-ren-wu-tu-mu-bing-yu-liu-fang-hu-yi-ming-270381","小皖款锡山水人物图木柄玉流方壶","此壶以锡为胎，莹润内敛，器型方中带弧，刚柔相济。玉流素洁莹润，乌木柄温厚趁手，方玉钮点睛呼应，诸材搭配和谐雅致。\n\n壶身錾刻隶书题句，笔力端正朴拙，墨韵尽显儒者雅趣，侧边浅刻山水人物，将金石书画意趣融于茶器。它跳出寻常茶具的实用局限，化身文房雅伴，把清人茶里寻闲的文人意趣凝于方寸，尽显中式雅致慢生活的审美风骨，是茶事与雅玩合一的精巧之作。",[1616,1617,1618,719,1619,7,848],"锡器","茶壶","日用具","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb330071621024be91267df0383d481bf.jpg",[],{"id":1623,"slug":1624,"title":1625,"dynasty":18,"author":19,"museum":20,"description":1626,"tags":1627,"thumbUrl":1629,"material":182,"size":183,"collection":31,"collections":1630,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},253186,"tao-dong-jing-mie-huo-ren-shou-wen-jing-lan-yi-ming-253186","陶“东井灭火”人兽纹井栏","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[24,1628,848,1154,1381,248,7,1118],"陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5abc34c951bf3495e14cb3de9dd5bcf.jpg",[],{"id":1632,"slug":1633,"title":1634,"dynasty":54,"author":19,"museum":20,"description":1635,"tags":1636,"thumbUrl":1639,"material":182,"size":183,"collection":31,"collections":1640,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},242539,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242539","清初拓宝贤堂法帖","此作为行书刻帖，字势灵动舒展，刚柔并济。笔墨粗细变化自然，牵丝映带间笔意连贯，行气舒朗流畅，尽显书写者清逸散淡的文人意趣。\n\n整帖排布匀整，乌亮拓墨与留白相映，既有手写原作的潇洒韵致，又因刻拓工艺晕染出苍朴厚重的金石质感，精妙复刻出原迹的笔墨细节。\n\n字里行间浸透清雅书卷气，尽显明清刻帖复刻古法的功力，在方寸之间留存下古帖的笔墨风神，是兼具审美意趣与帖学价值的刻本佳作。",[26,25,43,96,95,7,436,97,61,640,1637,1638],"星河","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e36128f7ce1719b889445ed60f1080.jpg",[],{"id":1642,"slug":1643,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1646,"thumbUrl":1647,"material":182,"size":183,"collection":31,"collections":1648,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242508,"zhong-ke-chun-hua-ge-tie-yi-ming-242508","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。",[25,26,43,96,97,95,7,61,44,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d987a4b395d326bf4656224c3fd935.jpg",[],{"id":1650,"slug":1651,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1652,"thumbUrl":1653,"material":182,"size":183,"collection":31,"collections":1654,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242464,"zhong-ke-chun-hua-ge-tie-yi-ming-242464",[25,43,26,61,96,97,436,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e84e0ed30b33095b336bcde58756d15.jpg",[],{"id":1656,"slug":1657,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1658,"thumbUrl":1659,"material":182,"size":183,"collection":31,"collections":1660,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242433,"zhong-ke-chun-hua-ge-tie-yi-ming-242433",[25,26,43,44,96,97,95,7,436,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9dcf1271bba0b6541bc8666907d6282.jpg",[],{"id":1662,"slug":1663,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1664,"thumbUrl":1665,"material":182,"size":183,"collection":31,"collections":1666,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242419,"zhong-ke-chun-hua-ge-tie-yi-ming-242419",[25,26,61,96,97,95,7,436,43,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb126e4dec44b319e24f7c0a89d2c5cb9.jpg",[],{"id":1668,"slug":1669,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1670,"thumbUrl":1671,"material":182,"size":183,"collection":31,"collections":1672,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242414,"zhong-ke-chun-hua-ge-tie-yi-ming-242414",[25,26,61,96,97,436,7,95,44,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a5b578253378f1fca59ae41108c27da.jpg",[],{"id":1674,"slug":1675,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1676,"thumbUrl":1677,"material":182,"size":183,"collection":31,"collections":1678,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242406,"zhong-ke-chun-hua-ge-tie-yi-ming-242406",[25,122,26,61,44,96,97,95,7,436,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69499e7b195d119eba17126802a0b7b7.jpg",[],{"id":1680,"slug":1681,"title":1644,"dynasty":54,"author":19,"museum":20,"description":1645,"tags":1682,"thumbUrl":1683,"material":182,"size":183,"collection":31,"collections":1684,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},242367,"zhong-ke-chun-hua-ge-tie-yi-ming-242367",[25,26,43,61,96,97,95,7,436,44,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db984ea95ae865fcf6079d7368bc0e8.jpg",[],{"id":1686,"slug":1687,"title":1644,"dynasty":234,"author":19,"museum":20,"description":1645,"tags":1688,"thumbUrl":1693,"material":182,"size":183,"collection":31,"collections":1694,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242342,"zhong-ke-chun-hua-ge-tie-yi-ming-242342",[26,25,97,96,7,436,43,1689,61,1690,1691,1692],"阁帖","钩摹","释文","考证","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dfd4640050acefc38060e1553f1030.jpg",[],{"id":1696,"slug":1697,"title":1698,"dynasty":54,"author":19,"museum":20,"description":1699,"tags":1700,"thumbUrl":1701,"material":182,"size":183,"collection":31,"collections":1702,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242341,"kuai-xue-tang-fa-tie-yi-ming-242341","快雪堂法帖","此作为行书册页，黑底白字，愈衬出字迹清劲雅致。行笔流丽婉转，结体舒展灵动，筋骨内含，既有赵孟頫式温润秀雅，又具董其昌般萧散简淡。\n文字详述刻帖原委，笔墨与文辞相得益彰，可见作书者深谙法帖源流。通篇排布疏朗匀停，气息平和安闲，尽显清代题跋书法的典型风貌，笔墨间内敛沉静的文人意趣跃然纸上，是兼具文献价值与审美价值的书法小品。",[25,26,43,96,95,97,436,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3fd4bf234db96341a32354371ad6f6.jpg",[],{"id":1704,"slug":1705,"title":1644,"dynasty":234,"author":19,"museum":20,"description":1645,"tags":1706,"thumbUrl":1707,"material":182,"size":183,"collection":31,"collections":1708,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},242336,"zhong-ke-chun-hua-ge-tie-yi-ming-242336",[25,26,43,96,97,95,7,436,61,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78c3a123bea135c9ce8f52ee494770b.jpg",[],{"id":1710,"slug":1711,"title":1644,"dynasty":234,"author":19,"mu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