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；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[61,23,46,28,26,7],"高清","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg","白纸本","",[32],531,3,{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":72,"description":73,"tags":74,"thumbUrl":87,"material":48,"size":88,"collection":32,"collections":89,"showCount":90,"zanCount":53,"manualWeight":11,"mainColor":36},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[61,23,46,7,75,76,77,78,79,80,81,82,83,84,85,86],"笔法圆润","结体秀逸","山","水","龙","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[32],156,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":20,"description":97,"tags":98,"thumbUrl":99,"material":64,"size":64,"collection":32,"collections":100,"showCount":101,"zanCount":53,"manualWeight":11,"mainColor":36},221017,"chun-hua-ge-tie-xuan-shi-biao-zhong-yao-221017","淳化阁帖宣示表","晋","钟繇","宣示表，故宫博物院藏，著名小楷法帖，原为三国时魏钟繇所书，真迹不传于世。只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。",[23,24,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6c853dfd420ca1bbc6c91fdf8c5872.jpg",[32],149,{"id":103,"slug":104,"title":105,"dynasty":41,"author":58,"museum":106,"description":107,"tags":108,"thumbUrl":111,"material":30,"size":112,"collection":32,"collections":113,"showCount":114,"zanCount":67,"manualWeight":11,"mainColor":36},214384,"du-hai-tie-su-shi-214384","渡海帖","台北故宫博物院","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[23,46,28,109,110,7],"书画","尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg","28.6x40.2",[32],138,{"id":116,"slug":117,"title":118,"dynasty":41,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":123,"material":124,"size":125,"collection":32,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":129},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","辽宁省博物馆","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[61,23,26,46,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","纸本，行书","31*7017cm",[32],110,1,"F48FB1",{"id":131,"slug":132,"title":133,"dynasty":41,"author":119,"museum":20,"description":134,"tags":135,"thumbUrl":138,"material":48,"size":139,"collection":32,"collections":140,"showCount":141,"zanCount":128,"manualWeight":11,"mainColor":36},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[61,136,137,109,26,46,23,28,7],"名画","国画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[32],93,{"id":143,"slug":144,"title":145,"dynasty":146,"author":147,"museum":148,"description":149,"tags":150,"thumbUrl":154,"material":48,"size":155,"collection":32,"collections":156,"showCount":157,"zanCount":128,"manualWeight":11,"mainColor":36},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","唐","白居易","藏地不详","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[61,23,24,151,152,153,7],"典籍","抄本","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg","未知",[32],85,{"id":159,"slug":160,"title":161,"dynasty":146,"author":162,"museum":20,"description":163,"tags":164,"thumbUrl":166,"material":124,"size":167,"collection":32,"collections":168,"showCount":170,"zanCount":128,"manualWeight":11,"mainColor":36},221061,"hu-zhou-tie-juan-yan-zhen-qing-221061","湖州帖卷","颜真卿","释文：\u2028　　江外唯湖州最卑下，今年诸州水并凑此州入太湖，田苗非常没溺。赖刘尚书□抚，以此人心差安，不然，仅不可安耳。真卿白。\n此帖为传颜真卿所书的一通信札，讲述湖州地区发生水灾，百姓得到安抚一事。根据书写的内容和史料推测，书写时间应在唐大历七年（772年）以后，即颜真卿任职湖州刺史期间。但经专家鉴定，此帖非颜氏所书，理由如下：其一，书写所用纸张为加粉砑光的竹料纸，而这种纸在宋代才出现。其二，在书写风格方面作者用笔圆转连绵，侧媚多姿，墨色华润，与颜真卿所书《祭侄文稿》的悲切、《争座位帖》的激昂意态迥别，亦缺少颜书中锋多“屋漏痕”意。因此可推断此帖为宋人之仿本。\n清安岐《墨缘汇观》、卞永誉《式古堂书画汇考》著录。",[61,165,23,46,26,28,7],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纵27.6厘米，横50.2厘米",[32,169],"碑帖精选",83,{"id":172,"slug":173,"title":174,"dynasty":95,"author":175,"museum":106,"description":176,"tags":177,"thumbUrl":178,"material":64,"size":179,"collection":32,"collections":180,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":36},221031,"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","王羲之","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[61,109,23,46,26,28,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[32,169],81,{"id":183,"slug":184,"title":185,"dynasty":41,"author":186,"museum":20,"description":187,"tags":188,"thumbUrl":189,"material":48,"size":190,"collection":32,"collections":191,"showCount":192,"zanCount":128,"manualWeight":11,"mainColor":36},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[61,109,23,46,7,28,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[32],79,{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":120,"description":197,"tags":198,"thumbUrl":201,"material":202,"size":203,"collection":32,"collections":204,"showCount":205,"zanCount":206,"manualWeight":11,"mainColor":207},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[61,23,24,109,199,7,200],"元代","碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","拓本","32x1126厘米",[32],73,2,"37474F",{"id":209,"slug":210,"title":211,"dynasty":41,"author":212,"museum":120,"description":213,"tags":214,"thumbUrl":215,"material":48,"size":216,"collection":32,"collections":217,"showCount":218,"zanCount":128,"manualWeight":11,"mainColor":36},221432,"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[61,46,24,23,26,7,28,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[32],71,{"id":220,"slug":221,"title":222,"dynasty":223,"author":224,"museum":20,"description":225,"tags":226,"thumbUrl":228,"material":48,"size":229,"collection":32,"collections":230,"showCount":231,"zanCount":128,"manualWeight":11,"mainColor":232},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","五代十国","杨凝式","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[61,23,227,26,7,28,109],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[32],69,"795548",{"id":234,"slug":235,"title":236,"dynasty":95,"author":175,"museum":237,"description":238,"tags":239,"thumbUrl":240,"material":241,"size":242,"collection":169,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":36},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[61,23,46,47,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","纸本墨迹","11行，102字",[169],67,{"id":246,"slug":247,"title":248,"dynasty":18,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":253,"material":48,"size":254,"collection":32,"collections":255,"showCount":256,"zanCount":206,"manualWeight":11,"mainColor":232},221844,"zhuan-shu-lou-shi-ming-juan-tai-bu-hua-221844","篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[61,252,23,26,28,7],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aead25aafad0b776e8c3ac69e1dc0e8.jpg","纵36.9厘米，横113.5厘米",[32],65,{"id":258,"slug":259,"title":260,"dynasty":18,"author":19,"museum":43,"description":261,"tags":262,"thumbUrl":263,"material":48,"size":264,"collection":32,"collections":265,"showCount":266,"zanCount":128,"manualWeight":11,"mainColor":36},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[61,109,23,46,26,28,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[32],63,{"id":268,"slug":269,"title":270,"dynasty":18,"author":271,"museum":148,"description":272,"tags":273,"thumbUrl":286,"material":64,"size":64,"collection":64,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":232},228316,"jin-hui-dui-tu-qian-xuan-228316","锦灰堆图","钱选","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[61,137,109,26,274,275,276,277,278,279,7,280,281,282,283,284,285],"工笔","设色","花鸟","昆虫","植物","题跋","花卉","蝴蝶","杂物","果实","叶子","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":290,"slug":291,"title":292,"dynasty":41,"author":293,"museum":148,"description":294,"tags":295,"thumbUrl":297,"material":64,"size":64,"collection":64,"collections":298,"showCount":299,"zanCount":128,"manualWeight":11,"mainColor":232},227521,"song-si-jia-chi-du-cai-xiang-227521","宋四家尺牍－","蔡襄","“宋四家”即指宋人苏黄米蔡的书法，是苏轼、黄庭坚、米芾、蔡襄的合称，被后世认为是最能代表宋代书法成就的书法家。有人认为苏黄米蔡的“蔡”应为北宋初年的书法家蔡襄。但就古人十分看重的年齿排辈而言，蔡若为蔡襄，则蔡应当排在苏之前。苏、黄、米皆按年齿排列，因此，作为北宋末年人的蔡京是为蔡，应当毫无争议。而后人认为蔡是指蔡襄，是因为蔡京的名声太臭，导致徽宗亡国，历史地位无法与前几位相提并论，故后人更加喜欢认为蔡指蔡襄。\n\n宋四家传世作品甚多，墨迹传世也不少，故介绍宋四家时以现存墨迹较好的作为推荐。",[23,46,48,7,28,296],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a3d33148651eeecd1f5d52609cefbc.jpg",[],58,{"id":301,"slug":302,"title":303,"dynasty":95,"author":304,"museum":20,"description":305,"tags":306,"thumbUrl":308,"material":309,"size":310,"collection":32,"collections":311,"showCount":312,"zanCount":128,"manualWeight":11,"mainColor":36},221018,"chu-shi-song-suo-jing-221018","出师颂","索靖","《出师颂》是古代流传的一幅章草体书法作品。原文作者是东汉史岑，书法作者存疑，据传为西晋索靖书。此作是存世书法作品中为数不多的古章草书作之一，书法笔势险峻，字体古朴简洁，具有很高的历史和艺术价值。",[23,26,307,28,7],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd5ac14567e428f1703c50bf72472b9b.jpg","纸本，章草书","纵21.2cm，横127.8cm",[32],56,{"id":314,"slug":315,"title":316,"dynasty":41,"author":317,"museum":148,"description":318,"tags":319,"thumbUrl":320,"material":241,"size":321,"collection":32,"collections":322,"showCount":323,"zanCount":128,"manualWeight":11,"mainColor":36},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黄庭坚","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[61,109,23,46,296,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[32],53,{"id":325,"slug":326,"title":327,"dynasty":41,"author":317,"museum":20,"description":328,"tags":329,"thumbUrl":330,"material":331,"size":332,"collection":32,"collections":333,"showCount":334,"zanCount":128,"manualWeight":11,"mainColor":36},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[23,109,46,28,7,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 4.8厘米，横 47.9厘米",[32],47,{"id":336,"slug":337,"title":338,"dynasty":146,"author":162,"museum":148,"description":339,"tags":340,"thumbUrl":341,"material":64,"size":64,"collection":64,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":232},227244,"zi-shu-gao-shen-yan-zhen-qing-227244","自书告身","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[23,24,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dade46987770c6acf3d339faa8b1280.jpg",[],34,{"id":345,"slug":346,"title":347,"dynasty":18,"author":19,"museum":106,"description":348,"tags":349,"thumbUrl":350,"material":63,"size":351,"collection":32,"collections":352,"showCount":343,"zanCount":128,"manualWeight":11,"mainColor":36},220875,"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[109,23,46,28,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg","纵27.5厘米，横62.8厘米",[32],{"id":354,"slug":355,"title":356,"dynasty":357,"author":358,"museum":20,"description":359,"tags":360,"thumbUrl":363,"material":124,"size":364,"collection":32,"collections":365,"showCount":366,"zanCount":206,"manualWeight":11,"mainColor":36},239698,"yu-min-zhong-shu-bu-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-que-bi-juan-yi-ming-239698","于敏中书补戏鸿堂刻柳公权兰亭诗阙笔卷","清","佚名","于敏中擅长书法，尤工楷书和行书，其书法风格乃是透过学习赵孟頫与董其昌而上溯至二王，是几位经常为乾隆皇帝捉刀的大臣之一，曾负责为皇帝拟定诏书。《戏鸿堂法帖》所刻柳公权兰亭诗多有阙笔不全，乾隆四十三年（1778年）命于敏中就刻本漫漶阙划处，因其偏旁补成全字，并仿董其昌临本（兰亭八柱之七）书之，原刻本及董书所无之阙字、阙句，则仍按其旧。目的是既要重新摹刻上石，又要保留原来的书法风貌，“俾还旧观”。本幅正是于敏中奉敕摹补柳公权书兰亭诗阙笔卷。其原诗用较大字书写，遇有某首诗有补阙的字、原刻的别字、错字，诗后则小字注明，如：王彬之四言诗“丹崖竦立，葩藻映林，渌水扬波，载浮载沉”后注：按此诗崖字、扬字原刻有阙笔今补；王羲之五言诗“……大矣造化功，万殊莫不均，……”后注：按此诗“功”字原刻作“切”，今从董临本改。有的地方，董临本没有的或阙损严重的，于敏中就其具体情况，也有补添上的。如:在郗曇、虞悦、孙嗣的三首五言诗后，注：按郗曇、虞悦、孙嗣三诗董临本所无，而原刻有之，今仍为临补；王徽之五言诗“先师有冥藏，安用羁世罗，未若保冲真，齐契箕山河”后注：后阙二句，董临本无，而原刻有之，亦为临补……。由于是皇帝之命，不敢草率行事，书写起来格外仔细认真，结字严整，布白均匀，墨之浓淡恰到好处。但是三十七首诗中，也同样与内府钩填本一样缺少王涣之五言诗最后一句“玄契齐古今”，除此之外，它呈现出的是兰亭诗墨迹的全貌。\n著录于《石渠宝笈续编》。清代刻入“兰亭”八柱，列为第六。",[61,23,46,26,28,361,362,7],"补阙","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d7970b003c44a350301a35655f7790.jpg","纵28.7厘米，横688.2厘米",[32],29,{"id":368,"slug":369,"title":370,"dynasty":41,"author":371,"museum":20,"description":372,"tags":373,"thumbUrl":374,"material":375,"size":376,"collection":32,"collections":377,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":36},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","陈容","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[61,23,26,46,227,362,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纸本，手卷","纵31.1cm，横382.8cm",[32],{"id":379,"slug":380,"title":381,"dynasty":41,"author":382,"museum":106,"description":383,"tags":384,"thumbUrl":385,"material":48,"size":386,"collection":32,"collections":387,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":36},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[61,23,46,28,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[32],{"id":389,"slug":390,"title":391,"dynasty":41,"author":42,"museum":43,"description":392,"tags":393,"thumbUrl":395,"material":30,"size":50,"collection":64,"collections":396,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":36},214269,"duo-jing-lou-shi-tie-16-mi-fei-214269","多景楼诗帖-16","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。",[23,46,7,394,47],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba425e46b94c66fe00d361430a7d114.jpg",[],{"id":398,"slug":399,"title":400,"dynasty":18,"author":19,"museum":148,"description":401,"tags":402,"thumbUrl":403,"material":155,"size":404,"collection":64,"collections":405,"showCount":406,"zanCount":128,"manualWeight":11,"mainColor":129},287338,"wu-xing-fu-mo-ji-shou-juan-zhao-meng-fu-287338","吴兴赋墨迹手卷","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。",[61,109,23,26,46,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e5b862109c535437718d8d9f4c5e71.jpg","Xcm*Xcm",[],28,{"id":408,"slug":409,"title":410,"dynasty":41,"author":411,"museum":106,"description":412,"tags":413,"thumbUrl":417,"material":418,"size":419,"collection":64,"collections":420,"showCount":406,"zanCount":11,"manualWeight":11,"mainColor":36},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","赵构","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[61,41,23,109,46,28,7,48,414,415,416],"汉字","笔墨","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":422,"slug":423,"title":424,"dynasty":425,"author":426,"museum":106,"description":427,"tags":428,"thumbUrl":429,"material":48,"size":430,"collection":32,"collections":431,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":36},222310,"shu-za-shi-juan-wang-chong-222310","书杂诗卷","明","王宠","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。",[23,46,26,28,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[32],26,{"id":434,"slug":435,"title":436,"dynasty":18,"author":437,"museum":438,"description":439,"tags":440,"thumbUrl":441,"material":241,"size":442,"collection":32,"collections":443,"showCount":432,"zanCount":206,"manualWeight":11,"mainColor":232},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","柯九思","荣宝斋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[61,23,24,26,28,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[32],{"id":445,"slug":446,"title":447,"dynasty":41,"author":42,"museum":43,"description":448,"tags":449,"thumbUrl":453,"material":30,"size":50,"collection":64,"collections":454,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":36},214263,"duo-jing-lou-shi-tie-21-mi-fei-214263","多景楼诗帖-21","笔墨间尽展“刷字”之妙，笔势如疾风骤雨却收放自如。粗重处墨色沉厚似铁画银钩，细劲处锋芒毕露如剑戟出鞘。“之”字捺脚舒展若振翅，“書”字结构欹侧却稳如磐石，欹正相生间藏匠心。干湿浓淡交织成趣：飞白处见筋骨，积墨处显韵味，层次丰富如山水叠嶂。行气连贯如江河奔涌，每一字皆灵动鲜活——既承晋人飘逸韵致，又融宋人豪情风骨，将登高临远的开阔心境注入笔墨。读之如观惊涛拍岸，豪情与逸气并存，不愧是宋代行书的巅峰之笔，尽显书法艺术的雄健与灵动之美。",[23,109,46,7,28,47,450,451,452],"墨迹书写","行书技法","印章元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4689b32af1621af6a885878995e5a0df.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":41,"author":459,"museum":148,"description":460,"tags":461,"thumbUrl":463,"material":155,"size":404,"collection":64,"collections":464,"showCount":465,"zanCount":11,"manualWeight":11,"mainColor":36},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[61,109,23,26,46,28,151,7,462],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],23,{"id":467,"slug":468,"title":469,"dynasty":18,"author":19,"museum":20,"description":470,"tags":471,"thumbUrl":472,"material":48,"size":473,"collection":32,"collections":474,"showCount":465,"zanCount":128,"manualWeight":11,"mainColor":36},220888,"guo-meng-tie-zhao-meng-fu-220888","过蒙帖","帖中的总管相公应是赵氏同宗。此札一是感谢他对家兄照 顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[61,23,46,7,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[32],{"id":476,"slug":477,"title":478,"dynasty":425,"author":479,"museum":480,"description":481,"tags":482,"thumbUrl":484,"material":485,"size":486,"collection":32,"collections":487,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":232},220900,"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","董其昌","美国大都会艺术博物馆","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[61,23,46,26,483,7],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","行草","26.7 x 183.7 cm",[32],{"id":489,"slug":490,"title":491,"dynasty":18,"author":492,"museum":20,"description":493,"tags":494,"thumbUrl":496,"material":124,"size":497,"collection":32,"collections":498,"showCount":499,"zanCount":206,"manualWeight":11,"mainColor":36},239673,"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","鲜于枢","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[61,23,46,26,28,7,414,495,199],"诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[32],20,{"id":501,"slug":502,"title":503,"dynasty":357,"author":504,"museum":20,"description":505,"tags":506,"thumbUrl":507,"material":64,"size":64,"collection":32,"collections":508,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":36},240054,"xing-shu-lun-shu-juan-weng-fang-gang-240054","行书论书卷","翁方纲","翁方纲(1733～1818)，字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴(今北京大兴区)人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。历督广东、江西、山东三省学政，官至内阁学士。精通金石、谱录、书画、词章之学，书法与同时的刘墉、梁同书、王文治齐名。",[61,46,23,26,28,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e94a414d463d97def4dd844bf31d23.jpg",[32],19,{"id":511,"slug":512,"title":513,"dynasty":41,"author":317,"museum":106,"description":514,"tags":515,"thumbUrl":519,"material":64,"size":64,"collection":64,"collections":520,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":36},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 台北故宫博物院藏\n\n释文：谿翁續得山谷題前定錄等八詩。小黠大癡螳捕蟬二篇居其中。遺趙景道者小字。送李伯牖者大字。予兼而有之。於好古博雅。不曰徒費光陰矣。寶祐甲寅（1254）中秋日書。\n\n光風轉蕙。汎崇蘭些。此山谷先生小楷氣象。石湖居士題。",[109,23,46,516,28,517,7,518],"墨书","宋代","信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],{"id":522,"slug":523,"title":524,"dynasty":425,"author":525,"museum":526,"description":527,"tags":528,"thumbUrl":530,"material":531,"size":532,"collection":64,"collections":533,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":232},222482,"xing-kai-luo-shen-fu-juan-zhu-yun-ming-222482","行楷洛神赋卷","祝允明","上海朵云轩","跋 者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[61,23,529,24,46,26,7,28],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","绢本","纵20.1cm，横161cm",[],{"id":535,"slug":536,"title":537,"dynasty":18,"author":19,"museum":20,"description":538,"tags":539,"thumbUrl":540,"material":541,"size":542,"collection":32,"collections":543,"showCount":544,"zanCount":128,"manualWeight":11,"mainColor":232},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[61,23,109,26,46,362,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[32],18,{"id":546,"slug":547,"title":548,"dynasty":41,"author":549,"museum":148,"description":550,"tags":551,"thumbUrl":552,"material":64,"size":64,"collection":64,"collections":553,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":36},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","李建中","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[136,137,109,23,47,46,516,48,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":555,"slug":556,"title":557,"dynasty":41,"author":558,"museum":20,"description":559,"tags":560,"thumbUrl":580,"material":48,"size":581,"collection":32,"collections":582,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":36},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[61,46,23,26,7,28,77,78,561,483,562,563,564,565,566,567,568,569,570,571,572,573,574,575,576,577,578,579],"云","月","亭","石","林","菊","兰","桂","江","秋","冬","芙蓉","舟","松","风","海","溪","竹","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[32],{"id":584,"slug":585,"title":586,"dynasty":18,"author":587,"museum":20,"description":588,"tags":589,"thumbUrl":590,"material":375,"size":591,"collection":32,"collections":592,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":36},239632,"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","杨维桢","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[61,23,227,26,28,7,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[32],17,{"id":595,"slug":596,"title":597,"dynasty":41,"author":411,"museum":148,"description":598,"tags":599,"thumbUrl":600,"material":64,"size":64,"collection":64,"collections":601,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":36},230852,"ba-cao-e-lei-mo-ji-zhao-gou-230852","跋曹娥诔墨迹","此作用笔清润圆融，提按转合皆含二王遗韵，尽显温润秀逸的宋韵风神。行文排布疏朗错落，笔墨间带着清雅书卷气，字字雅致隽永，法度与意趣兼备。朱红印信错落点缀，与墨色相映成趣，章法和谐古雅。题跋既抒对先贤墨宝的赞誉，也以自身笔意展露不俗书艺涵养，将文人雅致融于笔墨方寸之间，尽显温婉质感与文人意趣。",[23,46,28,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd0cff312155d75e983a475a0acee4.jpg",[],{"id":603,"slug":604,"title":605,"dynasty":41,"author":317,"museum":148,"description":606,"tags":607,"thumbUrl":609,"material":64,"size":64,"collection":32,"collections":610,"showCount":611,"zanCount":11,"manualWeight":11,"mainColor":232},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[517,23,46,28,109,7,48,608],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[32],16,{"id":613,"slug":614,"title":615,"dynasty":357,"author":616,"museum":148,"description":617,"tags":618,"thumbUrl":623,"material":155,"size":404,"collection":64,"collections":624,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":36},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[619,23,46,28,275,620,621,7,622],"清代","纸质","书信","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],15,{"id":627,"slug":628,"title":629,"dynasty":425,"author":630,"museum":20,"description":631,"tags":632,"thumbUrl":637,"material":638,"size":639,"collection":64,"collections":640,"showCount":625,"zanCount":11,"manualWei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在位二十五年（1796-1820年在位），年号“嘉庆”。",[23,109,24,699,28,275,7],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e4444b15dc1f0671c9d7c85d4a800.jpg",[],9,"FDD835",{"id":705,"slug":706,"title":707,"dynasty":18,"author":19,"museum":148,"description":708,"tags":709,"thumbUrl":710,"material":64,"size":64,"collection":64,"collections":711,"showCount":702,"zanCount":128,"manualWeight":11,"mainColor":36},239579,"qian-zi-wen-juan-zhao-meng-fu-239579","千字文卷","此作用笔圆转遒劲，提按顿挫自带韵律，整卷如行云流水，一气呵成。草书笔势连绵缠绕，牵丝映带自然灵动，线条枯湿浓淡相映，尽显挥毫时的意气流转。\n\n字间疏密开合得宜，排布错落有致，既存晋唐草书的飘逸风神，又融温润隽秀的文人意趣，将狂放草法与雅致书卷气融为一体。俯仰之间可见笔墨流转的灵动生机，千字排布气韵贯通，笔底风神毕现，尽显草书豪放洒脱之态，又不失法度内敛的从容，观之如临松涛流云，心神随之舒展。",[61,23,46,26,7,28,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20233b79a047b353ad9bdc087629956c.jpg",[],{"id":713,"slug":714,"title":715,"dynasty":41,"author":58,"museum":148,"description":716,"tags":717,"thumbUrl":718,"material":64,"size":64,"collection":64,"collections":719,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":232},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[61,23,46,26,28,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":721,"slug":722,"title":723,"dynasty":18,"author":724,"museum":106,"description":725,"tags":726,"thumbUrl":727,"material":63,"size":728,"collection":32,"collections":729,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":36},221809,"shu-mo-fa-si-shou-wu-zhi-chun-221809","书墨法四首","吴志淳","释文：墨法四首录上。南谷师一笑。吴志淳。久知墨诀在丹丘。子独来从逐客求。雾冷歙山春隐豹。月沉易水夜藏虬。鳞胶万杵应难制。松骨千年不易收。太史名家有遗谱。更须归向阿戎谋。谪居认病已无闻。袖出绫编喜见君。天上图书应奎璧。人间珠玉在诗文。墨铭拟问唐司户。书法还求晋右军。若就龙香千百片。临池能换白鹅群。乌玦流传出李家。后人涂抹已尘沙。括囊手剔千金直。秘阁神方百世夸。玉法试论无杜甫。玄经酷好有侯芭。工成进上蓬莱殿。五色寒光动晓霞。千里担簦走朔风。免冠接语恨匆匆。却闻作客依刘表。共说从师须马融。山路逢梅寒载酒。晴江待月夜归篷。将诗为问黄司马。茆屋还过访巳公。",[61,199,23,109,46,7,48,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab68cf5dccb4a5178eede475dbe99ca.jpg","48.7x70.3厘米",[32],{"id":731,"slug":732,"title":733,"dynasty":41,"author":734,"museum":106,"description":735,"tags":736,"thumbUrl":737,"material":48,"size":738,"collection":64,"collections":739,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":36},221246,"cheng-ti-ju-lang-zhong-qi-zhang-zha-zi-lou-yao-221246","呈提举郎中契丈劄子","楼钥","楼钥（1137-1213），字大防，自号攻愧主人，出身宋代著名四明楼氏，性喜藏书，博通经史百家，精研训诂，文辞淡雅却寓意深刻。著有《攻愧集》。书法上善作大字，曾奉宋高宗令书太学之匾。",[137,109,23,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efb81754296f15cec8a38cb2dc6544.jpg","34.1×40.7cm",[],{"id":741,"slug":742,"title":743,"dynasty":146,"author":358,"museum":148,"description":744,"tags":745,"thumbUrl":749,"material":64,"size":64,"collection":32,"collections":750,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":232},239682,"wu-kuan-huang-chao-qi-yi-ji-can-ye-yi-ming-239682","无款黄巢起义记残页","黄巢起义，指的是乾符五年（878年）至中和四年（884年）由黄巢领导的民变，是王仙芝起义的后续。也是唐末民变中，历时最久，遍及最大，影响最深远的一场农民起义。黄巢之乱转战近半唐朝江山，导致唐末国力大衰。\n黄巢起义，采用流动作战的方式，避实攻虚，走遍今天山东、河南、安徽、浙江、江西、福建、广东、广西、湖南、湖北、陕西等省广大地区，动摇了唐朝的统治。但由于长期流动作战，没有稳定的后方，缺乏经济上的保障和群众基础，故而很难持久下去，使起义军最后失败。",[165,23,46,7,746,151,747,414,748,516],"残页","手写","古籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[32],8,{"id":753,"slug":754,"title":755,"dynasty":18,"author":19,"museum":106,"description":756,"tags":757,"thumbUrl":758,"material":48,"size":759,"collection":32,"collections":760,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":36},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[61,23,46,26,48,7,621,28,415],"https:\u002F\u002F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赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[61,517,23,46,28,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":771,"slug":772,"title":773,"dynasty":146,"author":147,"museum":148,"description":149,"tags":774,"thumbUrl":776,"material":48,"size":155,"collection":64,"collections":777,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":36},223387,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-3-bai-ju-yi-223387","古抄残卷《白氏文集》第三巻第四3",[61,23,46,151,26,775,165,7,48],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":779,"slug":780,"title":781,"dynasty":41,"author":358,"museum":148,"description":782,"tags":783,"thumbUrl":785,"material":64,"size":64,"collection":32,"collections":786,"showCount":787,"zanCount":11,"manualWeight":11,"mainColor":232},241102,"wu-kuan-she-da-cheng-lun-jing-yi-ming-241102","无款摄大乘论经","此作用笔朴质沉厚，点画扎实凝练，虽为经卷抄写，却自带宋人的萧散意趣。字字排布茂密匀整，通篇气脉贯通，全无刻板匠气。抄经者功底扎实，书写沉静端穆，在一丝不苟的誊录里，暗含静定书写心性。墨色经岁月晕染，带着古雅的旧韵质感。作品既恪守写经的庄严法度，又流露随性舒展的文人笔意，是民间写经里兼具宗教肃穆与书法审美价值的佳作，尽显宋时写经书法的质朴风神。",[41,27,26,23,24,784,151,7],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5faa22d2c3a3f49fce478524c8532a2d.jpg",[32],7,{"id":789,"slug":790,"title":791,"dynasty":425,"author":792,"museum":148,"description":793,"tags":794,"thumbUrl":795,"material":155,"size":404,"collection":64,"collections":796,"showCount":787,"zanCount":11,"manualWeight":11,"mainColor":36},241094,"xing-shu-shou-zha-yang-yi-qing-241094","行书手札","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 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。\n庾翼外表风仪秀伟，年轻时便有经世大略。苏峻之乱时以白衣身份守备石头城，又随庾亮逃奔温峤。事后，受太尉陶侃征辟，历任参军、从事中郎，后任振威将军、鄱阳太守，转任建威将军、西阳太守。庾亮准备北伐时，任命庾翼为南蛮校尉、南郡太守等职，镇守江陵，以协助保卫石城之功，封都亭侯。庾亮逝世后，出任都督六州诸军事、安西将军、荆州刺史，接替庾亮镇守武昌。后部署诸将，意图北伐，任征西将军、荆州刺史。永和元年（345年）去世，获赠车骑将军，谥号“肃”。有文集二十二卷。《唐会要》将其尊为魏晋八君子之一。\n庾翼工书法，《淳化阁帖》收录有《故吏帖》。《宣和书谱》称其“善草隶，与王羲之并驰争先。”有其草书《步征帖》、行书《盛事帖》。",[23,46,296,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d60c5bdf123eceac3fa035b04bbf5e.jpg",[32],{"id":907,"slug":908,"title":909,"dynasty":425,"author":910,"museum":148,"description":911,"tags":912,"thumbUrl":914,"material":155,"size":404,"collection":64,"collections":915,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},241453,"di-zan-wang-jiu-si-yang-shen-deng-liu-jia-zha-juan-lv-nan-241453","翟瓉王九思杨慎等六家札卷","吕柟","吕柟（1479年－1542年），字大棟，又字仲木，别号泾野，学者称泾野先生，陕西高陵县人，明代官員、學者。",[23,26,46,227,7,913,518,28],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb580093547ef401bf06a4b939d6a400e.jpg",[],{"id":917,"slug":918,"title":919,"dynasty":425,"author":920,"museum":148,"description":921,"tags":922,"thumbUrl":923,"material":155,"size":404,"collection":64,"collections":924,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},241422,"shou-zha-juan-ni-yuan-lu-241422","手札卷","倪元璐","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[61,23,46,227,913,26,28,635,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b8f209cdad2cf152b12019e6910799.jpg",[],{"id":926,"slug":927,"title":928,"dynasty":357,"author":929,"museum":148,"description":930,"tags":931,"thumbUrl":933,"material":155,"size":404,"collection":32,"collections":934,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},240750,"shu-zha-ce-li-hong-zao-240750","书札册","李鸿藻","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[23,46,296,932,7],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388e390d504ab77cc2ae8c655dece775.jpg",[32],{"id":936,"slug":937,"title":938,"dynasty":425,"author":939,"museum":148,"description":940,"tags":941,"thumbUrl":942,"material":155,"size":404,"collection":64,"collections":943,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":129},239872,"wu-kuan-chong-zhen-er-nian-ren-guan-chi-shu-juan-tao-wen-zheng-239872","无款崇祯二年任官敕书卷","陶问政","此件以泛黄麻纸朱丝栏为底，笔墨沉实端正，规整的馆阁体带着庙堂文牍的肃穆气息。卷上墨书勾改、补签痕迹错落，边角批答与押字历历在目，清晰还原了晚明任官从题覆到领任的政务流转脉络。\n\n它不止是一纸文书，更是明末官场运作的鲜活注脚，字里行间载着当年的铨选细节与政务仪制。岁月留下的破损晕染，为工整的官牍笔墨晕开厚重沧桑，是晚明行政制度与文人笔札风貌的双重遗存。",[23,46,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c22b73af1651a78b68917858d437b3.jpg",[],{"id":945,"slug":946,"title":947,"dynasty":18,"author":948,"museum":20,"description":949,"tags":950,"thumbUrl":951,"material":48,"size":952,"collection":32,"collections":953,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},239625,"bai-yun-fa-shi-tie-ye-yu-ji-239625","白云法师帖页","虞集","释文：\n集顿首奉记。白云法师和上乡契，去年过访，足仞至情。别后极深怀系。大墓甚感用情，亲戚同不知首尾，不知归附心来，又六十余年，先参政之所经理遣意，老者今秋遣女后方可出。秋深要来，能来为妙。竹深旧相识，如来说可奉承。兹因俞伯康山长还吴，略得布此。秋冬间能来住一两月，同出亦好也。大墓事已开嘱丹阳以先世委用之意，必蒙相体。此行亦修路，侯一书讬伯康言之凡可。幸熟议勿停恩勿误事，则区区不肖之望也。植舟及小儿偶出，不及致问。溪山在斋，教两小儿如常也。伯婉受助后，月日未到未上，已尽达雅意矣。道人处传语诸亲知都为寄声为妙。眼昏写字不多整齐，勿罪。比相见好不及。虞集上记。\n鉴藏印有项元汴诸印，“董奕少氏”、“李肇亨”、“桃花源里人家”及安岐、完颜景贤、何子彰、赵叔彦、张爰、谭敬诸印28方，半印2方。\n文中自称“眼昏写字不多整齐”。虞氏晚年有目疾，并经常在信札中谈到，故此帖为其晚年之作。书法行笔环萦，字若连绵，法度险峭，劲健古雅。如王世贞所言：“用笔若草草，而中自遒劲。”\n《墨缘汇观·法书卷》、《三虞堂书画目》著录。",[23,46,7,199,28,608,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[32],{"id":955,"slug":956,"title":957,"dynasty":958,"author":358,"museum":148,"description":959,"tags":960,"thumbUrl":962,"material":155,"size":404,"collection":64,"collections":963,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},231828,"yang-sheng-xun-shou-gao-quan-juan-yang-sheng-xun-shou-gao-quan-juan-yi-ming-231828","养生训手稿全卷-养生训手稿全卷","不详","此作为行书长卷，开篇擘窠大字雄劲开张，笔力沉厚浑朴，颇有颜体宽博气象，后续小字行书舒展连贯，提按转折间筋骨尽显，墨色浓枯变幻自然，章法疏密错落，通篇一气呵成，韵致悠长。\n内容为养生之训，文辞意涵与笔墨意趣相融相衬，将修身静气的哲思寄寓于流动线条之中，缓急徐舒间藏内敛静气，既见书写者的笔底功力，也尽显其对养生之道的通透体悟，书卷气盎然，是兼备文学性与艺术性的书法佳制。",[61,23,46,26,961,7,28,151,48],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":958,"author":968,"museum":148,"description":969,"tags":970,"thumbUrl":971,"material":155,"size":404,"collection":64,"collections":972,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 手简","多贺芥勇等","这卷草书手简以笔墨为心音，行笔随性萧散，线条提按转折间尽显文人笔底风神。通篇布局错落随心，字距行间疏密相生，无刻意经营的匠气，带着日常尺牍书写的松弛畅意。枯湿浓淡的墨色交织，牵丝映带里藏着书写时连贯的思绪情绪，将尺素寸心化作纸上云烟。以笔为语，把日常叙寄的意绪融在每一处笔墨细节中，率真自在的书写状态，尽显文人信札书法的萧散雅趣，是将日常闲情化为笔墨意趣的动人之作。",[61,23,26,46,227,913,7,414,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690edad3d184081878b05d055e5ac915.jpg",[],{"id":974,"slug":975,"title":976,"dynasty":425,"author":977,"museum":978,"description":979,"tags":980,"thumbUrl":986,"material":64,"size":64,"collection":64,"collections":987,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":232},222545,"shu-jin-shan-si-shi-li-zhou-wang-duo-222545","书金山寺诗立轴","王铎","安徽省博物馆","书法行笔迅疾、淋漓酣畅、醉墨狂书、驰骋奔突。取势险峻跌宕、盘旋婉转、瘦若枯藤、势如蛟龙。章法上进退裕如，纵中寓敛，缓急有致，技法娴熟，风格老辣苍劲、雄沉奇逸。\n王铎（1592—1652），字觉斯，一字觉之。号十樵，号嵩樵， 又号痴庵、痴仙道人，别署烟潭渔叟。孟津（今河南孟津）人。幼时家境十分贫寒，过着“不能一日两粥”的生活。天启二年（1622）中进士，受到考官袁可立的赏识推荐，入翰林院庶吉士，累擢礼部尚书。王铎身逢乱世，仕途坎坷多艰。崇祯十六年（1643），51岁的王铎曾一度避难于苏州浒墅关袁枢寓所，二人交情笃厚，往来间以诗文书画相唱和。袁枢之父兵部尚书袁可立的神道碑文和墓志铭就是王铎亲笔撰文书写的。1644年李自成攻克北京，崇祯帝殉国于景山。马士英等在南京拥立福王，王铎为东阁大学士。清朝入关后被授予礼部尚书、官弘文院学士，加太子少保，于永历六年（1652）病逝故里。享年六十一岁，葬于河南巩义洛河边，谥文安。\n王铎的书法，既把“二王”的一些用笔特点放大，同时也把自己的个性张扬。从流传下来很多的王铎临“二王”书作中，我们不难看到那个张扬的王铎，表面上学习“二王”，却又在不规矩地显摆自我，在安分与不安分之间游荡。王铎又善用墨法，浓淡干湿，满纸糊涂，在晚明到清初的书法语言里，这种大胆的探索，给了时人明灯般的启发。\n此作王铎书于崇正八年乙亥（1635），王铎时年43岁，正值创作盛年。狂草书咏金山寺七绝诗两首：“大江鳌背擁金堤，解缆攀藤路欲建；赤日常流孤寺外，白云只在暮山西”。“层崖剥落残碑卧，古洞阴森怪鸟唬；卜筑中洽堪自老，何须更棹古陵溪。金山寺之二首，王铎为皓庵先生词宗正之，乙亥秋草具。”钤白文“王铎之印”、朱文“庵”方印。\n这幅作品一如既往地延续了王铎大刀阔斧一面的风格。用笔开张，气度轩昂，刀枪剑戟，一应俱全。每见这种大尺幅作品，总让人联想起沙尘浩荡的将军挥刀，使人动容。通篇气息连贯，一挥而就，有大浪扬帆之气概。\n开篇，王铎大笔一挥，用他独有的、极具个性的涨墨开头，恰如贝多芬的《命运交响曲》，高调的开头，把整个主旋律定了下来。开头“大江”二字的涨墨，既是自然的开张，也是有意的起首，这种夸张的手法，以至于“江”字都很难辨认了。随着开头两个字的重笔重墨，到了“鳌”字，便把笔一抬，将沉重的调子抬高。湿笔在“鳌”的“土”部成功转换，“江”与“鳌”之间的牵丝，若连若断，既是承接又是转换。从重到轻的旋律，在“鳌”演绎一次后继续在“背”“擁”中重复。但如果只是单纯地从重到轻的重复，那就太小看王铎的招数了。重复了两次后，“擁金堤”三字之间发生变化。“金堤”从轻到更轻，从湿到干，节奏上开始发生了变化，再来细看这三个字的处理，就发现这种节奏的把握与控制，自然舒畅，在不知不觉之间已被倾倒。再看看三个字的节奏变化，重笔从重到轻，三字之间的牵丝引带，巧妙地将三个字的关系联系了起来。在王铎的书法中，这种连断的运用相当巧妙与动人，技巧上继承了怀素、董其昌一路的断连用笔，并且某些技巧有所夸张和延伸。\n王铎的用笔高妙，在于他能把笔全方位用上，从涨墨到牵丝，干湿交错，粗细变化。错综复杂的掺杂，制造矛盾与化解矛盾的对立统一， 在各种组合中不断地上演。“攀”重笔起，一气呵成地连贯下来，“攀藤路欲建”四个字，从湿到干，笔各个面在转换翻动，随着动作与情感的变化，笔头生花，节奏也跟着变化，源于心，发于手。心中的情感依靠手上的技巧变现于纸上。上一次的尽情演绎，感情未得以宣泄完，随着“常”的一竖，第一行的情感随之一泻千里。王铎的用笔，若与《书谱》比较，肯定是谈不上精巧的，而其胜人之处在于能通过大刀阔斧用笔与章法组合，一览无余地宣泄内心的情感。艺术之谓为艺术，在于其能通过技去表现人本而臻于道，而并非单纯的表现技术的层面。\n第一行的精彩演绎引发出第二行、第三行的交替组合。其实仅仅只是几个元素的重复，再从中发挥各种组合，便出现各种奇妙的效果。这也就是“自然生发关系”，其实通篇文字从开头两个字生发出来，情感随着变化，一直延伸，线条变化延绵的同时，感情也在高低起伏中扩散，到最后，小字收尾，既是一个结尾，也是情感宣泄到最后，一种“收”的表现。",[61,648,227,23,981,982,983,362,984,985,7],"飞白","浓墨","枯笔","金山","寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74221d9bb38a574d4a0e4a4929ed5f08.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":18,"author":948,"museum":106,"description":992,"tags":993,"thumbUrl":994,"material":48,"size":995,"collection":64,"collections":996,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":36},221869,"zhi-dan-qiu-bo-shi-gong-chi-du-yu-ji-221869","致丹丘博士公尺牍","虞集（1272-1348）元代文学家。字伯生，号道园，人称邵庵先生。祖籍仁寿（今属四川）。其五世祖虞允文，为南宋著名爱国将领，曾在绍兴三十一年(1161)的采石之战中大败金军，官至丞相。其父虞汲，曾任黄冈尉，宋亡后侨居临川崇仁(今属江西)。虞集自幼学习程朱理学，深受儒家正统观念的影响，但又不拘成法，思想比较开通。宋亡后，侨居临川崇仁（今属江西）。元成宗大德元年(1297)， 虞集至大都，他被荐授大都路儒学教授。仁宗时，为集贤修撰。泰定帝时，升任翰林直学士兼国子祭酒。文宗为怀王时，已知虞集之名，继位后授之奎章阁侍书学士，进翰林侍讲学士，并与赵世延等编纂《经世大典》。因虞集曾草诏说顺帝非明宗子，所以顺帝即位后，他就谢病回乡。谥文靖。\n诗文为当时大家，“一时宗庙朝廷之典册，公卿士大夫碑版咸出其手。粹成一家之言”。与杨载、范□（木亨）、揭傒斯先后齐名，人称“虞、杨、范、揭”，并称“元诗四大家”。他主张宗唐宗古，以李白、杜甫为正宗，而又特别欣赏陶渊明、王维、韦应物、柳宗元等人，提倡“舒迟而淡泊”的审美观。诗文风格谨严，但多模拟前人。有《道园学古录》、《道园遗稿》。\n书法亦是大家，曾与赵孟頫同在翰林院共事，赵孟頫是他的上级，书法自然受到赵孟頫影响，观其作品，深得晋人韵味，清朗蕴藉之气不减赵氏。陶宗仪式《书史会要》称他“真行草篆皆有法度。古隶为当代第一。”明代书法家李东阳说：“书家者流，所谓人品高、师法古者，伯生殆兼有之。”书迹主要留于鉴赏题跋，传世作品还有《刘垓神道碑铭》墨迹本（上海博物馆藏）为大字真书，可见钟繇、苏轼笔法，曾为奎章阁篆印两方“奎章阁宝”、“天历之宝”，可见他的篆书在当时也很出众。虽为当时重要书家，流传作品不多，风格也不甚鲜明。",[23,46,516,28,110,199,48,893,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":998,"slug":999,"title":1000,"dynasty":41,"author":558,"museum":20,"description":1001,"tags":1002,"thumbUrl":1006,"material":48,"size":1007,"collection":64,"collections":1008,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":232},221567,"shu-da-gui-yi-zhong-tie-zhu-xi-221567","书大桂驿中帖","此帖是《宋贤遗翰册》中一页。按朱熹《年谱》，宋绍熙五年五月知潭州，《宁宗本纪》言：“七月庚午，召秘阁修撰知潭州朱熹诣行在。”文中“辛苦三月，已不胜郡事”，即五月至八月，在任正好三个月。“告归未获”，指朱熹在六月曾“申乞放归田里”。文中所提及诸事多为绍熙五年事，故推算此帖为绍熙五年作品，朱熹时年65岁。\n《大桂驿中帖》书法纵逸不拘，醇古自然，意态畅达，如烟云舒卷，意在行文，有自得之趣。如詹景凤所言：“不以书名，固以学掩之。”\n《石渠宝笈·续编》著录。",[61,23,109,7,46,48,26,362,1003,1004,415,1005,28],"宋代书法","文人书法","线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee75601295dc929695527313345c875.jpg","纵33.4厘米，横57.3厘米",[],{"id":1010,"slug":1011,"title":1012,"dynasty":425,"author":1013,"museum":148,"description":1014,"tags":1015,"thumbUrl":1016,"material":155,"size":404,"collection":64,"collections":1017,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":36},241641,"zhi-yang-hu-shu-zha-wen-zheng-ming-241641","致阳湖书札","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”。",[635,23,46,28,48,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c7c691a4650c35c73306c75c378ec.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":357,"author":1022,"museum":148,"description":1023,"tags":1024,"thumbUrl":1026,"material":155,"size":404,"collection":64,"collections":1027,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":36},240395,"shou-zha-heng-fu-lin-ze-xu-240395","手札横幅","林则徐","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[23,46,48,619,1025,913,7],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb907ea73b88f28cb5cc339cc01fe2d76.jpg",[],{"id":1029,"slug":1030,"title":1031,"dynasty":425,"author":1032,"museum":148,"description":1033,"tags":1034,"thumbUrl":1035,"material":64,"size":64,"collection":32,"collections":1036,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":36},240002,"zhi-jia-da-ren-shi-ye-zhao-shi-xian-240002","致家大人诗页","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[23,46,362,275,28,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8240dfcb707713975b3ece9649f35e.jpg",[32],{"id":1038,"slug":1039,"title":1040,"dynasty":425,"author":1013,"museum":20,"description":1041,"tags":1042,"thumbUrl":1043,"material":48,"size":1044,"collection":64,"collections":1045,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":36},222016,"xing-cao-mo-gao-wen-zheng-ming-222016","行草墨稿","文徵明是一个典型的儒者，他的处世思想深受儒家思想的影响，因此他为人和而介，做事谨而严。由于受这种处世思想的影响，对于书法的审美，文微明一力面以书法有法为美，另一方面将书品人品并而论之。从书法审美的角度来看，文徵明以”法“为美。",[61,109,23,26,485,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba54f9ee8b7d0e291994680b899a5240.jpg","30*810",[],{"id":1047,"slug":1048,"title":1049,"dynasty":357,"author":1050,"museum":148,"description":1051,"tags":1052,"thumbUrl":1053,"material":155,"size":404,"collection":64,"collections":1054,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":36},241437,"zhi-gong-ci-shuo-wen-yi-zi-gai-heng-wang-ding-241437","致公朿说文佚字改横","王鼎","王鼎（1768年－1842年），字定九，號省厓，陝西同州府蒲城縣（今陕西省渭南市蒲城县）人，清朝大臣。",[61,23,109,46,26,48,7,893,414,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb756aa44ee4d4d2f2110c0a5d6a9102a.jpg",[],{"id":1056,"slug":1057,"title":1058,"dynasty":425,"author":1059,"museum":148,"description":1060,"tags":1061,"thumbUrl":1062,"material":155,"size":404,"collection":64,"collections":1063,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":36},240209,"wu-lv-shi-ye-lin-zi-240209","五律诗页","林梓","林梓(嘉靖乙丑進士)，嘉靖四十四年進士、明朝政治人物。",[425,23,46,28,296,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F738941ce31b6fe6cfd4e203d4dafb87c.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":425,"author":792,"museum":148,"description":793,"tags":1068,"thumbUrl":1069,"material":64,"size":64,"collection":64,"collections":1070,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":36},239899,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239899","明代名人，申时行等墨宝",[635,46,26,23,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d0c48581859b3130c43ffe55ce128.jpg",[],{"id":1072,"slug":1073,"title":1074,"dynasty":41,"author":1075,"museum":148,"description":1076,"tags":1077,"thumbUrl":1078,"material":64,"size":64,"collection":32,"collections":1079,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":36},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》。",[136,137,109,23,46,48,394,517,913,608,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2aefae188247cd1e32c521cde295a68.jpg",[32],{"id":1081,"slug":1082,"title":1083,"dynasty":357,"author":1022,"museum":148,"description":1023,"tags":1084,"thumbUrl":1085,"material":155,"size":404,"collection":64,"collections":1086,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":232},241632,"zhi-jie-ping-zha-lin-ze-xu-241632","致介平札",[23,46,48,7,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071f2ee9465dcbeedaf8409c6e1d1b1d.jpg",[],{"id":1088,"slug":1089,"title":1090,"dynasty":357,"author":1091,"museum":148,"description":1092,"tags":1093,"thumbUrl":1094,"material":155,"size":404,"collection":64,"collections":1095,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":232},241144,"wan-bai-shan-ren-chuan-heng-sun-yun-gui-241144","完白山人传横","孙云桂","余自与石如交情……每掀髯大言曰：邓布衣篆书，世岂有敌哉，其狂不可及则畏之。迨浃洽久，出肺肝相示，忘形骸精诚可贯金石。盖古之任侠士也，则昵而爱之。……君名琰号石如邓其姓怀宁人。",[23,46,26,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275a154c4531b98a7d4483b4528340e5.jpg",[],{"id":1097,"slug":1098,"title":1099,"dynasty":425,"author":1100,"museum":148,"description":1101,"tags":1102,"thumbUrl":1103,"material":155,"size":404,"collection":64,"collections":1104,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},241110,"wu-yan-shou-shi-wang-zuo-yuan-241110","五言寿诗","王祚远","王祚遠，字無近，贵州普安卫（今贵州省盘县）籍应天府句容县人，晚明官员，同進士出身。 萬歷四十一年（1613年）癸丑科進士，三甲一百十三名，选为庶吉士。",[23,46,28,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0ee2e05e2cdd0dc1c49cdbc55ac9c6.jpg",[],{"id":1106,"slug":1107,"title":1108,"dynasty":425,"author":1109,"museum":148,"description":1110,"tags":1111,"thumbUrl":1113,"material":155,"size":404,"collection":64,"collections":1114,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},240938,"ji-huai-shi-er-shou-shan-mian-dong-si-cheng-240938","寄怀诗二首扇面","董嗣成","董嗣成 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。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[109,296,46,23,7,635,414,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b7f882622f12b0a331a79d29ef1c3c.jpg",[],{"id":1125,"slug":1126,"title":1127,"dynasty":425,"author":1128,"museum":148,"description":1129,"tags":1130,"thumbUrl":1131,"material":155,"size":404,"collection":64,"collections":1132,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":232},240855,"shi-juan-zhou-yan-ru-240855","诗卷","周延儒","字玉绳，号挹斋，南直隶常州府宜兴县（今江苏省宜兴市）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n周延儒自幼聪颖，万历四十一年（1613年）连中会元、状元，历任翰林院修撰、右中允、左庶子、少詹事、正詹、礼部右侍郎等职。他善于迎合崇祯帝旨意，于崇祯二年（1629年）十二月以礼部尚书兼东阁大学士，进入内阁。翌年二月加太子太保衔，改任文渊阁大学士，九月升任内阁首辅，加少保衔，进武英殿大学士。崇祯五年（1632年）二月加少傅兼太子太傅，改吏部尚书，进建极殿大学士。期间与同僚温体仁倾轧，崇祯六年（1633年）六月因被言官陈赞化揭露曾私下称崇祯帝为“羲皇上人”而辞职。崇祯十四年（1641年）九月再任内阁首辅，翌年七月进少师，升为中极殿大学士。他复出后，推翻温体仁主政时的弊政，笼络人心，并重新获得崇祯帝的信任。但同时也倚靠吴昌时、董廷献等亲信，结交内侍，收受贿赂，加剧了朝政的腐败。\n崇祯十五年（1642年）冬，清军第六次入塞大掠，翌年四月，周延儒自请督师堵截撤退的清军，但他不仅没有认真堵截，还不断谎报军情。五月还朝后，崇祯帝欲加封他为太师，但其督师期间的行径随即由锦衣卫都督骆养性等密告于崇祯帝，因而被勒令致仕回乡。不久，言官雷縯祚、郝䌹、蒋拱宸等揭发其招权纳贿、结交内侍，触怒崇祯帝，周延儒被再召至京师，于崇祯十六年十二月（1644年1月）赐死，时年五十五岁。清修《明史》将他列入“奸臣传”。",[61,23,26,46,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd68c0a36f4346847b8f2f5faab6ed9.jpg",[],{"id":1134,"slug":1135,"title":1136,"dynasty":425,"author":1137,"museum":148,"description":1138,"tags":1139,"thumbUrl":1140,"material":155,"size":404,"collection":64,"collections":1141,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},240373,"shi-ye-lin-ting-zhang-240373","诗页","林烶章","林烶章（？－？），字繼暉，福建興化府莆田縣人，民籍，明朝政治人物。 生平[编辑]. 福建鄉試第五十五名舉人。嘉靖二十九年（1550年）中式庚戌科二甲第五名進士。",[23,46,28,109,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cdfb139cf5f3854629225ffe7f9301.jpg",[],{"id":1143,"slug":1144,"title":1145,"dynasty":425,"author":1146,"museum":148,"description":1147,"tags":1148,"thumbUrl":1149,"material":155,"size":404,"collection":64,"collections":1150,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},239908,"jiu-jia-xing-shi-juan-li-min-239908","九家行诗卷","李旻","李旻，字同仁，益都（今山东益都）人。成化（一四六五―一四八七）中领乡荐授同州守，改潞州。善行、草书。代表作品有《分省人物考》。",[61,23,46,26,7,48,362,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907d32e4895b26726f9eeb47af0fc1ae.jpg",[],{"id":1152,"slug":1153,"title":1067,"dynasty":425,"author":792,"museum":148,"description":793,"tags":1154,"thumbUrl":1155,"material":64,"size":64,"collection":64,"collections":1156,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},239896,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239896",[23,46,635,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9201ac55504504c56c3f8ac3c491b.jpg",[],{"id":1158,"slug":1159,"title":1160,"dynasty":425,"author":1161,"museum":148,"description":1162,"tags":1163,"thumbUrl":1165,"material":155,"size":404,"collection":64,"collections":1166,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},239735,"ming-ren-jian-du-ce-zhi-zun-shi-zha-han-xi-meng-239735","明人笺牍册-致尊师札","韩希孟","韩希孟，明代女工艺家，武林（今浙江杭州）人。北宋名相韩琦五世孙，明嘉靖进士顾名世孙媳，顾寿潜妻。居上海。善画花卉，工刺绣，所绘绣宋元画家真迹，最为传神，多用朱绣名款，传世作品较多，为世所珍， 称为“韩媛绣”。",[23,46,296,1164,7,425],"笺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88862e36b8696e3c505ccf7abb8eeab.jpg",[],{"id":1168,"slug":1169,"title":1170,"dynasty":357,"author":358,"museum":148,"description":1171,"tags":1172,"thumbUrl":1174,"material":64,"size":1175,"collection":64,"collections":1176,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},233109,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233109","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[357,46,23,28,362,1173,7],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4775784975d56074491ead8150414d5e.jpg","87.3×50cm",[],{"id":1178,"slug":1179,"title":1180,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1181,"thumbUrl":1182,"material":63,"size":1183,"collection":64,"collections":1184,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222298,"nan-hua-zhen-jing-51-wang-chong-222298","南华真经51",[61,23,109,137,48,25,7,151,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c4786a7c0127d9219035a7357cb57a.jpg","每开尺寸长19.1、宽12.5厘米",[],{"id":1186,"slug":1187,"title":1188,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1189,"thumbUrl":1190,"material":63,"size":1183,"collection":64,"collections":1191,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222297,"nan-hua-zhen-jing-50-wang-chong-222297","南华真经50",[61,635,109,23,25,46,7,296,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf18c520abca89d0a7d8cf115b46eb7c.jpg",[],{"id":1193,"slug":1194,"title":1195,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1196,"thumbUrl":1197,"material":63,"size":1183,"collection":64,"collections":1198,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222292,"nan-hua-zhen-jing-45-wang-chong-222292","南华真经45",[61,137,109,23,24,46,25,7,48,635,151,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887ccccc44eeedf68aa4b38e94753cac.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1203,"thumbUrl":1207,"material":63,"size":1183,"collection":64,"collections":1208,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222291,"nan-hua-zhen-jing-44-wang-chong-222291","南华真经44",[61,23,109,46,7,1204,1205,1206],"明代风格","毛笔书写","汉字作品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63152ec9b86134c4f46a62fc07efa538.jpg",[],{"id":1210,"slug":1211,"title":1212,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1213,"thumbUrl":1214,"material":63,"size":1183,"collection":64,"collections":1215,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222286,"nan-hua-zhen-jing-39-wang-chong-222286","南华真经39",[61,23,24,362,109,27,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ba0081b5a68e7c9c0fc8dc3b704cc4.jpg",[],{"id":1217,"slug":1218,"title":1219,"dynasty":425,"author":426,"museum":438,"description":427,"tags":1220,"thumbUrl":1221,"material":63,"size":1183,"collection":64,"collections":1222,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":703},222257,"nan-hua-zhen-jing-10-wang-chong-222257","南华真经10",[61,23,46,27,296,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fad0dfc94c2290db2a5cc675993f838.jpg",[],{"id":1224,"slug":1225,"title":1226,"dynasty":41,"author":1227,"museum":20,"description":1228,"tags":1229,"thumbUrl":1230,"material":48,"size":1231,"collection":64,"collections":1232,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":36},221654,"zhong-liu-yi-hu-tie-ye-fan-cheng-da-221654","中流一壶帖页","范成大","人与作品是不可分割的，作者的人品、诗文、绘画等都会成为其书法作品的评判要素，这就是在书法评价过程中所谓的“书以人传”。当然，少数人会因为书法留名而“人以书传”，但这个比例是极小的。弘一法师曾说：“宁可书以人传，不可人以书传。”这句话至今仍是一条真理。\n对范成大的研究、梳理中，研究者多注重其政治家、诗人的身份。他身为参知政事（副宰相），位高权重；他与杨万里、陆游、尤袤合称南宋“中兴四大诗人”，《四时田园杂兴》足以让其名传千古。而书法在范成大的整个人生历程中的的确确是件余事，但他的书法在南宋却是为数不多的典范之一。",[61,109,23,46,296,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296071818e9eef1eddd85ce7e24267a2.jpg","31.8×42.4cm",[],{"id":1234,"slug":1235,"title":1236,"dynasty":41,"author":1237,"museum":1238,"description":1239,"tags":1240,"thumbUrl":1253,"material":1254,"size":1255,"collection":64,"collections":1256,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":64},220617,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220617","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[61,517,23,46,202,47,1241,7,415,1242,1243,1005,981,1244,1245,1246,1247,1248,1249,1250,1251,1252],"刻帖","章法","结体","使转","提按","中锋","侧锋","帖学","碑刻","书迹","临帖","书风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9cdc584821ac371540393487be1ad7.jpg","墨拓,纸本,册页","34 × 36 cm",[],{"id":1258,"slug":1259,"title":1260,"dynasty":958,"author":358,"museum":148,"description":1261,"tags":1262,"thumbUrl":1264,"material":155,"size":404,"collection":64,"collections":1265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":232},289706,"dun-huang-yi-shu-342-yi-ming-289706","敦煌遗书342","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 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。",[26,23,27,1263,227,151,7],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86569f092f4487e9f47569313ffb002e.jpg",[],{"id":1267,"slug":1268,"title":1269,"dynasty":958,"author":358,"museum":148,"description":1261,"tags":1270,"thumbUrl":1271,"material":155,"size":404,"collection":64,"collections":1272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},289669,"dun-huang-yi-shu-305-yi-ming-289669","敦煌遗书305",[26,23,27,1263,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa04e60518732723c7b34d0997d992b6.jpg",[],{"id":1274,"slug":1275,"title":1276,"dynasty":958,"author":358,"museum":148,"description":1261,"tags":1277,"thumbUrl":1278,"material":155,"size":404,"collection":64,"collections":1279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},288465,"dun-huang-yi-shu-187-yi-ming-288465","敦煌遗书187",[1263,27,23,26,784,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73c0737518ebf953d0c63b9cd707d8.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":357,"author":358,"museum":148,"description":1284,"tags":1285,"thumbUrl":1291,"material":155,"size":404,"collection":64,"collections":1292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":207},242252,"zhong-ke-chun-hua-ge-tie-yi-ming-242252","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。",[252,47,202,23,1286,1287,296,28,1288,1289,1241,1173,7,1290],"篆刻","临摹","重刻","帖本","碑帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219e56217c5484ede575cfa0a4d8478.jpg",[],{"id":1294,"slug":1295,"title":1296,"dynasty":357,"author":1022,"museum":148,"description":1023,"tags":1297,"thumbUrl":1310,"material":155,"size":404,"collection":64,"collections":1311,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},241635,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241635","致老夫子大人札",[23,46,153,1298,913,619,893,621,7,1299,1300,620,516,1301,1302,1303,1304,1205,1305,1306,1307,1308,1309],"墨","竖排","繁体","清代书法","行书书法","手札形式","传统书信","墨色书写","竖列书写","繁体文字","纸质载体","墨笔书迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f35c1b907f132a1a0043fd277e798a.jpg",[],{"id":1313,"slug":1314,"title":913,"dynasty":425,"author":1315,"museum":148,"description":1316,"tags":1317,"thumbUrl":1318,"material":155,"size":404,"collection":64,"collections":1319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},241189,"shou-zha-ma-yi-long-241189","马一龙","马一龙（1499—1571）明农学家、书法家。字负图，号孟河，别号玉华子。溧阳人。马性鲁子，马从谦侄。嘉靖二十六年（1547）进士。翰林院检讨，授南京国子监司业。因母亲年老多病，五次上疏请求返里养亲，方得批准。三十八年分校礼闱，擢南少司成摄大司成事。辞官回溧阳后建务本书院，构筑馆舍，读书著述。曾捐资设义田，恢复盘龙堰，改筑盘龙桥，重建尊经阁等。招募农民垦种，采用分成制，把收获的一半给佣工，一年后荒地全部得到开垦并取得好收成。根据自己的农事经验编辑《农说》，以阴阳理论阐述农业生产，特别是水稻生产，在农学思想上占有相当重要的地位。另著有《农经》、《字帖》及《玉华子游艺集》24卷，石刻书法有《重修广化庵记》、《楷书石碑》。工书。法怀素《圣母帖》，遒劲飘逸，自谓怀素以后一人。去世后入祀乡贤祠和忠孝祠。",[61,23,46,26,109,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397258fdbf4ea5a824e0108764918f77.jpg",[],{"id":1321,"slug":1322,"title":1323,"dynasty":357,"author":1324,"museum":148,"description":1325,"tags":1326,"thumbUrl":1327,"material":155,"size":404,"collection":64,"collections":1328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},241003,"si-jia-zha-juan-sun-qi-feng-241003","四家札卷","孙奇逢","孙奇逢（1584—1675年）明末清初理学大家。字启泰，号钟元，晚年讲学于辉县夏峰村20余年，从者甚众，世称夏峰先生。\n顺治元年（1644年）明朝灭亡后，清廷屡召不仕，人称孙征君。与李颙、黄宗羲齐名，合称明末清初三大儒。\n孙奇逢一生著述颇丰，他的学术著作主要有：《理学宗传》、《圣学录》、《北学编》、《洛学编》、《四书近指》、《读易大旨》五卷、《书经近指》。",[61,109,23,26,46,28,7,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16afcf4394bae728613c900721d8e31e.jpg",[],{"id":1330,"slug":1331,"title":1332,"dynasty":357,"author":1333,"museum":148,"description":1334,"tags":1335,"thumbUrl":1336,"material":155,"size":404,"collection":64,"collections":1337,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},241001,"jia-shu-juan-qu-shi-si-241001","家书卷","瞿式耜","瞿式耜（耜，音sì\u002Fㄙˋ，1590年－1651年1月8日），字起田，又字伯略，號稼軒，明末政治人物、詩人。直隸常熟縣（今江蘇省常熟市）人。",[61,26,23,46,48,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21977330cc53c084c8ee122a17498485.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":425,"author":1342,"museum":148,"description":1343,"tags":1344,"thumbUrl":1345,"material":155,"size":404,"collection":64,"collections":1346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":232},240962,"san-wu-mo-miao-ce-shi-wang-feng-yuan-240962","三吴墨妙册-诗","王逢元","字子新，号吉山。钦佩子。擅海内书名，楷法钟繇，草法王羲之父子。",[23,109,296,46,28,7,362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a93c9f7f2ee593620a2b38781a41ef5.jpg",[],{"id":1348,"slug":1349,"title":928,"dynasty":357,"author":929,"museum":148,"description":930,"tags":1350,"thumbUrl":1353,"material":155,"size":404,"collection":64,"collections":1354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},240784,"shu-zha-ce-li-hong-zao-240784",[23,46,296,28,932,7,893,414,1351,747,415,48,1352],"传统书法","钤印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4aad5bd2f93e96c7173aa0d8f71a1b.jpg",[],{"id":1356,"slug":1357,"title":928,"dynasty":357,"author":929,"museum":148,"description":930,"tags":1358,"thumbUrl":1359,"material":155,"size":404,"collection":64,"collections":1360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":207},240769,"shu-zha-ce-li-hong-zao-240769",[23,46,296,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc0c3acf5ca79041c38b4dc2f44a62f.jpg",[],{"id":1362,"slug":1363,"title":928,"dynasty":357,"author":929,"museum":148,"description":930,"tags":1364,"thumbUrl":1365,"material":155,"size":404,"collection":64,"collections":1366,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":232},2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