[{"data":1,"prerenderedAt":749},["ShallowReactive",2],{"subject-mo-bi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},814,"mo-bi","墨笔","墨笔画高清赏析","精选中国历代墨笔题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59425d027a635247e9ee1261ff4d7c64.jpg",0,57,[14,41,70,87,117,135,152,170,183,193,206,229,240,253,267,281,300,313,331,342,354,376,387,397,408,418,430,444,455,464,473,483,494,505,515,527,539,548,557,566,581,590,602,612,622,631,643,651,658,665,674,687,696,705,715,729,738],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","宋","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,24,25,26,27,28,29,30,7,31,32],"高清","名画","水墨","写意","文人画","兰","简笔","花卉","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","纸本,水墨","34.3x59.6","花鸟画精选",[36],570,12,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":68,"zanCount":69,"manualWeight":11,"mainColor":40},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","元","赵孟頫","北京故宫博物院","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,50,51,52,53,54,55,56,57,58,7,59,60,61],"元代","书画","长卷","设色","工笔","人物","马","鞍马","行书","书法","人物画","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","绢本,设色","纵32.2厘米，横62.5厘米","人物画精选",[65,67],"书法精选",127,4,{"id":71,"slug":72,"title":73,"dynasty":74,"author":75,"museum":76,"description":77,"tags":78,"thumbUrl":81,"material":82,"size":83,"collection":67,"collections":84,"showCount":85,"zanCount":86,"manualWeight":11,"mainColor":40},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","明","王逢元","台北故宫博物院","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,79,51,59,80,58,7],"国画","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","绢本,水墨","81.9x38.6",[67],117,1,{"id":88,"slug":89,"title":90,"dynasty":91,"author":92,"museum":47,"description":93,"tags":94,"thumbUrl":111,"material":112,"size":113,"collection":114,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":40},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","杨柳浴禽图轴","清","朱耷","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[79,25,80,26,95,96,97,98,99,100,101,102,103,7,104,105,106,107,108,109,110],"杨柳","禽鸟","孤石","花鸟","水墨写意","枯枝","孤鸟","山石","枝条","写意花鸟","水墨花鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纸本，墨笔","纵119厘米，横58.4厘米","",[],74,{"id":118,"slug":119,"title":120,"dynasty":45,"author":121,"museum":122,"description":123,"tags":124,"thumbUrl":127,"material":128,"size":129,"collection":130,"collections":131,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":134},221815,"shuang-gou-zhu-tu-zhou-li-kan-221815","双钩竹图轴","李衎","天津博物馆","这是一幅在绢本上以墨笔双钩而后晕染设色的翠竹。画幅内能较完整看见一杆成竹和两颗箬笋，右边若隐若现有一些小枝和箨叶，结合画面构图看，右边略显紧张局促，料想可能是被裁过。古书画年代久远、传递收藏复杂，或因破旧重装，或因商贾牟利，裁剪、分割是常有之事。即便如此，本幅设色双钩竹的艺术水准仍然是展现无遗的。其拔节舒枝、解箨抽梢蒸蒸然有摇曳升腾之势；浓淡向背、避让交叠萧萧乎真美人君子之姿。",[23,79,51,80,125,126,7],"双钩","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f81dae935198e9a11627f9cfbaf2bae.jpg","绢本","75.5×29.5cm","水墨画精选",[130,132],"竹石精选",64,"795548",{"id":136,"slug":137,"title":138,"dynasty":139,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":149,"material":114,"size":114,"collection":114,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":134},227227,"fo-jiao-xin-jing-yi-ming-227227","佛教 心经","唐","佚名","藏地不详","《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。",[23,144,145,59,146,147,53,51,7,148],"唐代","宗教","写经","楷书","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],61,{"id":153,"slug":154,"title":155,"dynasty":156,"author":157,"museum":47,"description":158,"tags":159,"thumbUrl":163,"material":164,"size":165,"collection":67,"collections":166,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":169},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","晋","王羲之","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[59,58,160,161,162,51,7],"墨书","题跋","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[67,167],"碑帖精选",58,"F48FB1",{"id":171,"slug":172,"title":173,"dynasty":18,"author":174,"museum":141,"description":175,"tags":176,"thumbUrl":180,"material":114,"size":114,"collection":114,"collections":181,"showCount":182,"zanCount":86,"manualWeight":11,"mainColor":134},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","苏轼","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[79,24,51,25,7,27,26,177,97,178,179,128],"竹子","竹枝","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],53,{"id":184,"slug":185,"title":186,"dynasty":45,"author":140,"museum":76,"description":187,"tags":188,"thumbUrl":190,"material":63,"size":114,"collection":65,"collections":191,"showCount":192,"zanCount":86,"manualWeight":11,"mainColor":134},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[79,51,80,145,55,189,7,53],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[65],46,{"id":194,"slug":195,"title":196,"dynasty":74,"author":197,"museum":47,"description":198,"tags":199,"thumbUrl":202,"material":112,"size":203,"collection":114,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":40},233782,"mo-mei-tu-zhou-tang-yin-233782","墨梅图轴","唐寅","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。",[79,80,25,200,59,201,98,7],"梅","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4f5ac2515103604a1a28cdb834aab2.jpg","纵96厘米，横36厘米",[],36,{"id":207,"slug":208,"title":209,"dynasty":18,"author":210,"museum":47,"description":211,"tags":212,"thumbUrl":226,"material":112,"size":227,"collection":114,"collections":228,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":40},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","米友仁","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[79,51,52,25,213,214,215,201,59,216,26,217,218,219,220,221,222,7,27,223,224,225],"山水","云","树木","皴法","点染","远山","近树","云雾","山峦","题字","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg","纵21.4厘米，横195.8厘米",[],{"id":230,"slug":231,"title":232,"dynasty":91,"author":92,"museum":47,"description":233,"tags":234,"thumbUrl":236,"material":114,"size":237,"collection":67,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":40},239596,"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[235,51,59,58,162,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[67],35,{"id":241,"slug":242,"title":243,"dynasty":18,"author":140,"museum":76,"description":244,"tags":245,"thumbUrl":250,"material":63,"size":251,"collection":65,"collections":252,"showCount":239,"zanCount":86,"manualWeight":11,"mainColor":40},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","西园雅集图","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,79,51,53,54,55,215,102,246,247,7,248,249],"园林","文人","庭院","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[65],{"id":254,"slug":255,"title":256,"dynasty":18,"author":257,"museum":258,"description":259,"tags":260,"thumbUrl":263,"material":34,"size":264,"collection":114,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":40},214269,"duo-jing-lou-shi-tie-16-mi-fei-214269","多景楼诗帖-16","米芾","上海博物馆","笔势如骤雨旋风，起收间带着“刷字”的爽利——浓墨沉厚如坠石，枯笔飞白似裂帛，墨色的浓淡干湿交织出淋漓节奏。字形欹侧却稳若危岩：“追”字捺笔如长鞭破空，“壮”字结构似险峰临渊，每一笔都裹挟着登临远眺的豪情。线条张力藏山河壮阔，墨痕跃动映诗心激荡。以笔为剑、墨为情，把眼前景与心中意泼洒纸间，千年后观者仍能触到那份奔涌的生命力，仿佛听见楼头啸咏时，衣袂与风相撞的声响。",[59,58,261,7,262],"墨迹","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba425e46b94c66fe00d361430a7d114.jpg","31.2x538.1",[],29,{"id":268,"slug":269,"title":270,"dynasty":45,"author":271,"museum":141,"description":272,"tags":273,"thumbUrl":278,"material":114,"size":114,"collection":114,"collections":279,"showCount":280,"zanCount":86,"manualWeight":11,"mainColor":134},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","携琴访友图","罗稚川","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[79,25,216,80,274,102,213,275,100,276,277,7],"枯树","老树","远岫","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],26,{"id":282,"slug":283,"title":284,"dynasty":74,"author":285,"museum":76,"description":286,"tags":287,"thumbUrl":295,"material":296,"size":297,"collection":67,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":40},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,24,79,51,80,58,288,160,289,290,291,59,292,7,293,294],"临摹","明代","文人书法","行草","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","纸本","161.2x54.9",[67],24,{"id":301,"slug":302,"title":303,"dynasty":74,"author":304,"museum":47,"description":305,"tags":306,"thumbUrl":309,"material":296,"size":114,"collection":310,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":40},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452","晴雪长松图轴","张瑞图","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[79,51,80,25,213,189,102,307,216,215,308,7],"雪景","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg","山水画精选",[310,130],21,{"id":314,"slug":315,"title":316,"dynasty":91,"author":317,"museum":47,"description":318,"tags":319,"thumbUrl":327,"material":296,"size":328,"collection":114,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":40},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","赵之谦","赵之谦篆书许氏说文叙册。纸本，纵32.4cm，横57.5cm。每页10行，行4字。此册篆书节录汉许慎《说文解字叙》一段，末开识云：“方壶属书此册，故露笔痕以见起讫转折之用。”\n从赵之谦识语推测，此册当是为弟子习字用所书范本，上款方壶应为其弟子或爱其书者。此册书法结构谨严，篆法精丽，起讫之处未用藏锋，其意为使弟子易见笔法之踪痕，却获得了一种意外的效果，使之不同于一般篆书之圆润流美，自具特色。同时，此册笔力健劲，使转自如，将北碑书法融于篆书之中，也为赵氏书法之一大特色。本册具体书写时间不详，但从书法风格及为弟子书写范本的情况看，当为赵氏中年以后作品，是赵之谦具有代表性的篆书作品之一。\n释文:黄帝之史仓颉，见鸟兽蹄迒之迹，知分理之可相别异也。初造书契，百官以乂，万民以察，盖取诸夬夬扬于王庭。言文者，宣教明化于王者，朝廷君子所以施禄及下，居德则忌也。仓颉之初作书，盖依类象形，故谓之文。其后形声相益，即谓之字。字者，言孳乳而浸多也。著於竹帛谓之书。书者，如也。以讫五帝三王之世，改易殊体，封于秦山者七十有二代，靡有同焉。周礼八岁（入）小学，保氏教国子先以六书。一曰指事。指事者，视而可识，察而可见，上下是也。二曰象形。象形者，画成其物，随体诘诎，日月是也。三曰形声。形声者，以事为名，取辟相成，江河是也。四曰会意。会意者，比类合谊，以见指撝，武信是也。五曰转注。转注者，建类一首，同意相受，考老是也。六曰假借。假借者，本无其字，依声托事，令长是也。及宣王太史籀著大篆十五篇，与古文或异，至孔子书六经，左邱明述春秋传，皆以古文厥意可得而说。许氏说文叙。",[59,320,7,296,321,322,323,324,325,326],"篆书","册页","金石气","中锋用笔","隶书笔意","古朴","浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5625c27b1bbdd537e79f97528a97f7.jpg","纵32.4cm，横57.5cm",[],18,{"id":332,"slug":333,"title":334,"dynasty":18,"author":174,"museum":141,"description":335,"tags":336,"thumbUrl":339,"material":114,"size":114,"collection":114,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":40},227499,"song-si-jia-chi-du-su-shi-227499","宋四家尺牍－","苏轼（1037-1101），字子瞻，号东坡居士，四川眉山人。北宋著名文学家、书画家。诗词开豪放一派，为唐宋八大家之一。苏轼少负才名，博通经史。宋嘉佑二年（1057年）进士，曾官礼部尚书，翰林学士等职。他一生坎坷，多次被贬官放逐。他在宋神宗时曾受重用，然因新旧党争，屡遭贬抑，出任杭州、密州、徐州、湖州等地方官；又因作诗“讪谤朝政”，被人构陷入狱。出狱后贬黄州。此后几经起落，再贬惠州、琼州，一直远放到儋州（今海南儋县），从此随缘自适，过着读书作画的晚年生活。直到元符三年（1100年）宋徽宗即位，他才遇赦北归。建中靖国元年（1101年）七月死于常州。\n\n苏轼为人正直、性旷达，才华横溢，诗词文赋而外，对书画也很擅长，同蔡襄、黄庭坚、米芾并称“宋四家”。苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。",[23,59,58,7,337,201,160,338],"纸质","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],16,{"id":343,"slug":344,"title":345,"dynasty":18,"author":346,"museum":141,"description":347,"tags":348,"thumbUrl":351,"material":114,"size":114,"collection":114,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":40},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","致景道十七使君尺牍","黄庭坚","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[51,59,58,7,296,201,349,350],"尺牍","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],15,{"id":355,"slug":356,"title":357,"dynasty":91,"author":358,"museum":141,"description":359,"tags":360,"thumbUrl":371,"material":372,"size":373,"collection":114,"collections":374,"showCount":375,"zanCount":86,"manualWeight":11,"mainColor":134},240825,"jin-nong-you-chan-zhi-si-shi-zhou-jin-nong-240825","金农游禅智寺诗轴","金农","金农（1687年—1763年），男，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。",[59,80,58,361,235,7,296,362,213,363,364,365,366,367,368,201,369,370,261],"隶书风格","禅寺","天","秋","树","风","日影","僧人","诗","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10142d08c61c3b53a5e657070fe8e4bf.jpg","未知","Xcm*Xcm",[],14,{"id":377,"slug":378,"title":379,"dynasty":74,"author":380,"museum":47,"description":381,"tags":382,"thumbUrl":385,"material":114,"size":114,"collection":67,"collections":386,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":169},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[23,24,79,51,52,59,383,384,7,201,262],"草书","章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[67],{"id":388,"slug":389,"title":390,"dynasty":74,"author":391,"museum":141,"description":392,"tags":393,"thumbUrl":395,"material":372,"size":373,"collection":114,"collections":396,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},236303,"shan-shui-shan-ye-lu-jie-zhi-236303","山水扇页","陆介祉","字纯嘏，鄞县（今浙江宁波）人。明诸生。明亡遂弃举子业，以诗、画寄兴，故喜绘老松古柏，以见奇节。顺治八年（一六五一）作山水扇，见故宫周刊。",[289,394,79,25,213,215,216,102,100,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F764eb5b4a3aacab1e79554ed9715f9ba.jpg",[],{"id":398,"slug":399,"title":400,"dynasty":91,"author":401,"museum":20,"description":402,"tags":403,"thumbUrl":404,"material":405,"size":114,"collection":114,"collections":406,"showCount":407,"zanCount":86,"manualWeight":11,"mainColor":40},214811,"shan-shui-hua-hui-tu-ce-7-gao-feng-han-214811","山水花卉图册-7","高凤翰","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[79,25,200,201,162,98,308,30,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170ba3249f647175672fdb1aab2746a6.jpg","纸本,设色",[],11,{"id":409,"slug":410,"title":411,"dynasty":91,"author":412,"museum":141,"description":413,"tags":414,"thumbUrl":415,"material":296,"size":114,"collection":67,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":40},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[51,59,58,296,7,201,235,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[67],10,{"id":419,"slug":420,"title":421,"dynasty":91,"author":422,"museum":141,"description":423,"tags":424,"thumbUrl":427,"material":114,"size":114,"collection":114,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":40},232686,"shuang-feng-cha-yun-kang-you-wei-232686","双峰插云","康有为","康有为（1858年3月19日－1927年3月31日），清末维新变法派主要发起者，原名祖诒，字广厦，号长素，又号明夷、更生、西樵山人、游存叟、天游化人，广东省南海县丹灶苏村人，人称康南海，光绪廿一年（1895年）进士，曾与弟子梁启超合作戊戌变法，又称百日维新，变法失败后，被慈禧太后通缉而出逃。1912年宣统退位后，康有为继续反对共和，1917年曾与张勋合作，发动兵变，拥立宣统帝，是为张勋复辟，但十二日之内就被段祺瑞讨平。1927年在一场宴会后病逝。",[23,59,58,7,201,425,426],"浓墨","笔触粗犷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f896b0bf2259d73b0c3bbfedecf966d.jpg",[],9,{"id":431,"slug":432,"title":433,"dynasty":74,"author":140,"museum":141,"description":434,"tags":435,"thumbUrl":441,"material":114,"size":114,"collection":114,"collections":442,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":134},239310,"cha-shao-liang-mo-bi-yu-fu-tu-shan-mian-yi-ming-239310","查劭良墨笔渔父图扇面","此作用金笺墨笔绘就江渚幽居之景，疏柳欹斜，条叶舒展含风，湖石错落映带浅滩。扁舟横泊，渔父隐于舱中，静享江天寥廓闲逸。\n\n笔墨简逸苍润，以写意之笔勾勒点染，脱尽繁缛，淡墨晕染出江南水畔清寂空疏的氛围。题识与画境相融，以极简笔意藏起江湖渔隐的恬然自适，寥寥数笔便将幽独萧散的隐逸之思烘托尽致，尽显文人画以画明志、遣兴抒怀的精妙意韵。",[79,394,25,7,216,213,436,437,438,439,102,440],"孤舟","蓑笠","渔乐","柳树","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496ed84ecdee9172809f4eaddc0f3c5e.jpg",[],8,{"id":445,"slug":446,"title":447,"dynasty":45,"author":46,"museum":141,"description":448,"tags":449,"thumbUrl":452,"material":372,"size":373,"collection":114,"collections":453,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":40},289919,"zhi-ji-zong-yuan-xin-zha-juan-zhao-meng-fu-289919","致季宗元信札卷","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,59,51,52,58,450,201,7,451],"信札","手卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ecb9127a45d081ca8d6431c4726ee0.jpg",[],6,{"id":456,"slug":457,"title":458,"dynasty":74,"author":459,"museum":141,"description":460,"tags":461,"thumbUrl":462,"material":372,"size":373,"collection":114,"collections":463,"showCount":454,"zanCount":86,"manualWeight":11,"mainColor":40},289799,"xin-chun-deng-shi-han-zhu-zhan-ji-289799","新春等诗翰","朱瞻基","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,59,52,383,58,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64099e7f9b1ee308735258e795bc5fc8.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":91,"author":468,"museum":141,"description":469,"tags":470,"thumbUrl":471,"material":372,"size":373,"collection":114,"collections":472,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":169},241498,"shi-xu-ce-zheng-ban-qiao-241498","诗叙册","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》。",[91,58,321,59,201,7,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3195e24019e907a81bb1f8dc2ee84f24.jpg",[],{"id":474,"slug":475,"title":476,"dynasty":74,"author":477,"museum":141,"description":478,"tags":479,"thumbUrl":480,"material":372,"size":373,"collection":114,"collections":481,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":40},241439,"zhi-qing-shi-ri-lai-zha-heng-wen-jia-241439","致磬室日来札横","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[289,59,58,296,450,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b2daf85aa2364c08c9eaca87a0d4d.jpg",[],5,{"id":484,"slug":485,"title":486,"dynasty":91,"author":487,"museum":141,"description":488,"tags":489,"thumbUrl":492,"material":372,"size":373,"collection":114,"collections":493,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":40},230881,"shu-pu-jie-lu-shan-mian-yan-xin-hou-230881","书谱节录扇面","严信厚","原名严经邦，字筱舫，又字小舫，号石泉居士。清末著名实业家、书法家、画家，浙江慈溪县人。他是中国近代早期民族资本家的代表之一，也对中国教育的近代化做出了贡献。",[91,394,58,59,7,296,490,491],"节录","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04bc3191c8fecf9693aaa21a22b86b6.jpg",[],{"id":495,"slug":496,"title":497,"dynasty":74,"author":498,"museum":141,"description":499,"tags":500,"thumbUrl":503,"material":296,"size":114,"collection":67,"collections":504,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":40},241530,"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[59,58,7,337,201,501,289,502,160],"诗文","汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg",[67],{"id":506,"slug":507,"title":508,"dynasty":74,"author":509,"museum":141,"description":510,"tags":511,"thumbUrl":512,"material":114,"size":114,"collection":114,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":40},239725,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-xie-bei-tie-wen-zheng-ming-239725","长洲文氏尺牍册-致永之写碑帖","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[59,58,162,201,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e94a95fd2c7305f6656bad6e6405e95.jpg",[],3,{"id":516,"slug":517,"title":518,"dynasty":74,"author":519,"museum":520,"description":521,"tags":522,"thumbUrl":523,"material":524,"size":525,"collection":114,"collections":526,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":40},222280,"nan-hua-zhen-jing-33-wang-chong-222280","南华真经33","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。",[23,59,147,146,7,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0dade8b6877afadd3acb3ad757f2a9.jpg","白纸本","每开尺寸长19.1、宽12.5厘米",[],{"id":528,"slug":529,"title":530,"dynasty":531,"author":140,"museum":141,"description":532,"tags":533,"thumbUrl":536,"material":372,"size":373,"collection":114,"collections":537,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},287825,"dong-dou-fa-yuan-juan-yi-ming-287825","東都發願卷","不详","此卷书法尽显唐人写经朴雅本貌，用笔简劲凝练，点画厚重平实，起收之间从容自然，牵丝映带暗含章法意趣。通篇布局匀整和谐，字距行距错落有度，虽为抄经之作，却将书写时的虔诚心境融于笔墨细节，不见刻意雕琢，尽是日常书写的松弛意态。\n\n岁月晕染让纸面带着斑驳痕迹，反而更添古拙意蕴。书写者娴熟的运笔功力藏在每一处提按转折里，以平实笔墨承载笃信之心，是民间写经书法中兼具文献价值与审美意趣的佳品，尽显中古写本的朴素之美。",[52,59,146,534,147,7,535],"佛教","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed4766da81fe616deaa4b858b134dfa.jpg",[],2,{"id":540,"slug":541,"title":542,"dynasty":91,"author":543,"museum":141,"description":544,"tags":545,"thumbUrl":546,"material":372,"size":373,"collection":114,"collections":547,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},241571,"mei-yi-lu-yu-ping-zhou-mei-yi-241571","梅釴录语屏轴","梅釴","此作用笔温润秀雅，牵丝映带间尽显行书流动之美，结体错落随性，毫无板滞之感。墨色清透匀净，随着行文自然晕开浓淡变化，古意盎然。\n\n录写古人问道读书的清雅佳话，笔墨与文意相融相合，尽显书家的文人情趣与审美意趣。落款小字精劲端严，与正文的舒展灵动形成动静对比，两枚朱印沉稳点睛，让整幅作品章法和谐完满，尽显清代帖学书法的隽雅之风，是兼具笔墨意趣与文心内涵的佳构。",[79,51,80,58,59,201,7,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88482ccd6af7c80216c973f92090793.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":91,"author":552,"museum":141,"description":553,"tags":554,"thumbUrl":555,"material":372,"size":373,"collection":114,"collections":556,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},241263,"zi-shu-shi-juan-fan-da-che-241263","自书诗卷","范大徹","此作用笔爽利流畅，行书笔意婉转而筋骨内含，牵丝映带间尽显灵动韵致。墨色枯湿浓淡富于变化，时而丰润饱满，时而渴笔见飞白，为整卷添了几分朴拙疏朗的意趣。\n\n通篇布局疏密相宜，字与字、行与行顾盼生姿，将诗作里江南寻春的清雅心境，融于笔墨起伏之中。既有帖学一脉的秀逸灵动，又暗蓄几分拙朴厚重，尽显文人书家随性抒怀的风雅，把日常酬唱的诗意化作笔底烟霞，观之可感书写时的舒展快意，窥见旧时文人的襟怀意趣。",[59,58,52,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b979ba63138a14d06f52633ec4f3926.jpg",[],{"id":558,"slug":559,"title":560,"dynasty":91,"author":561,"museum":141,"description":562,"tags":563,"thumbUrl":564,"material":372,"size":373,"collection":114,"collections":565,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},240685,"zhuan-shu-wu-hou-yu-zhou-zhang-hui-yan-240685","篆书武侯语轴","张惠言","张惠言（1761～1802）清代词人、散文家。原名一鸣，字皋文，一作皋闻，号茗柯，武进（今江苏常州）人。乾隆二十六年生，嘉庆七年六月十二日卒。乾隆五十一年举人，嘉庆四年进士，官编修。少为词赋，深于易学，与惠栋、焦循一同被后世称为“乾嘉易学三大家”。又尝辑《词选》，为常州词派之开山，著有《茗柯文编》。",[320,80,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bf6945d518f3ec2ebbaaaadd40ffe9.jpg",[],{"id":567,"slug":568,"title":569,"dynasty":91,"author":570,"museum":47,"description":571,"tags":572,"thumbUrl":577,"material":578,"size":579,"collection":67,"collections":580,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},240111,"he-yu-zhi-shi-ye-liu-tong-xun-240111","和御制诗页","刘统勋","卷前有乾隆己巳夏六月望日（乾隆十四年，1749年）御制初集诗小序，序末钤“乾”、“隆”联珠印；太子少保尚书蒋溥奏刻御制诗集告成折。卷末有张廷玉、蒋溥、梁诗正、汪由敦、刘统勋、介福、钱陈群、嵇璜、观保、董邦达、金德瑛等跋。\n《御制诗初集》收录御制诗4150余首，系清高宗弘历于乾隆元年至十二年（1736－1747年）所作，按年编次。而《御制诗集》收录的是乾隆皇帝所有的诗作，共计42,000余首。\n乾隆帝的诗可谓实录，是其从政、祭祀、巡幸、筵宴、读书等活动的即兴之作，如《皇考忌辰感成六韵》、《皇考梓宫至泰陵奉安》、《皇太后宴恭记》、《赐蒋溥巡抚湖南》、《阅古北口将士较武》、《题沈周春草秋花卷》、《西巡回銮述事》等，题咏繁富，追怀抒情，具有较高的史料价值。诚如乾隆皇帝所言：“几务之暇，无他可娱，往往作为诗古文赋，文赋不数十篇，诗则托兴寄情，朝吟夕讽。其间，天时农事之宜，莅朝将祀之典，以及时巡所至，山川名胜，风土淳漓，罔不形诸咏歌，纪其梗概。”\n除此本外，尚有《四库全书荟要》本、《四库全书》本、清乾隆年内府抄本、清光绪五年内府铅印本。\n《四库全书总目》、《中国古籍善本书目》著录。",[59,58,321,7,201,573,574,575,576],"明月","湖","海","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb07e45af19ba11b98d8195a66498010.jpg","绢","20.3cm×13.7cm",[67],{"id":582,"slug":583,"title":584,"dynasty":18,"author":585,"museum":141,"description":586,"tags":587,"thumbUrl":588,"material":114,"size":114,"collection":67,"collections":589,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":40},239646,"zhan-yang-tie-yuan-xie-239646","詹仰帖","袁夑","祖父袁毂。生于宋高宗绍兴十四年，早年入读太学，淳熙年间进士及第，调任江阴尉。迁太学正，当时党禁兴起，因非议去职。后来历仕司封郎官，迁国子监祭酒。后为礼部侍郎，与权相史弥远争和议，被罢官回乡。\n袁燮博学，学者称其为“絜斋先生”。与舒磷、沈焕、杨简并称为“明州淳熙四先生”，为当时浙东四明学派的代表人物之一，曾主讲于城南书院，袁燮讲学，必启发诸生“反躬切己，忠信笃实”，“其教多以明心为言，盖有见于当时学者陷溺功利，沈锢词章，积重难返之势，必以提醒为要”。晚年起用，出知温州，进直学士，宋宁宗嘉定十七年卒，享寿八十一岁。奉祠以卒，谥正献。真德秀为他写行状[2]。著作《絜斋集》二十四卷、《絜斋后集》十三卷、《絜斋家塾书钞》、《絜斋毛诗经筵讲义》。后人袁士杰辑有《袁正献公遗文钞》。",[24,79,51,59,58,296,7,350,338,321,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2aefae188247cd1e32c521cde295a68.jpg",[67],{"id":591,"slug":592,"title":593,"dynasty":531,"author":140,"museum":141,"description":594,"tags":595,"thumbUrl":600,"material":372,"size":373,"collection":114,"collections":601,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":40},288870,"giovanni-battista-tiepolo-scherzo-di-fantasia-standing-warrior-yi-ming-288870","Giovanni 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[52,671,146,59,147,145,535,7,51],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86466dfcaa1aabec1b62d0083c2c2c6.jpg",[],{"id":675,"slug":676,"title":677,"dynasty":91,"author":140,"museum":141,"description":678,"tags":679,"thumbUrl":685,"material":372,"size":373,"collection":114,"collections":686,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},266394,"xing-huang-se-ju-die-wen-an-hua-shi-di-sha-mo-bi-hua-hu-wen-xiao-dan-tao-ku-yi-ming-266394","杏黄色菊蝶纹暗花实地纱墨笔画虎纹小单套裤","以杏黄实地纱为底，暗织菊蝶纹隐于纱间，雅致低调。又以墨笔晕染仿虎斑纹，线条灵动写意，将猛虎纹路柔化适配孩童衣物，童趣盎然。分体式形制精巧，上端米白系带固定腰胯，下端黑带束于大腿，兼顾美观与实用性。配色明快柔和，暗纹与手绘纹饰相得益彰，将吉祥意趣融入日常衣物，尽显旧时服饰工艺的细腻巧思，藏着中式童装独有的雅致鲜活。",[680,681,682,7,683,684],"衣帽","布料","虎","菊蝶纹","暗花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04caeddbcf8b4e1fadc464718eb65b14.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":91,"author":691,"museum":141,"description":692,"tags":693,"thumbUrl":694,"material":372,"size":373,"collection":114,"collections":695,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},240923,"ba-su-sheng-zeng-yan-juan-zhao-han-240923","跋苏生赠言卷","赵函","赵函，字元止，号艮甫，江苏震泽(今吴江)人，侨寓无锡。诸生。诗才豪迈，不事模仿依傍，也不与时习相推转。所作《十哀诗》等，多咏鸦片战争时事，慷慨苍凉。又工词，与曹楸坚(亦号艮甫)齐名江南，一时有“平艮仄艮”之称，另有“江南两艮”之称",[58,7,59,201,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071b654b1d22152d5ac1cadc807191f9.jpg",[],{"id":697,"slug":698,"title":699,"dynasty":91,"author":700,"museum":141,"description":701,"tags":702,"thumbUrl":703,"material":372,"size":373,"collection":114,"collections":704,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},240651,"shi-zhou-chen-zhuan-240651","诗轴","陈撰","陈撰，1678年 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