[{"data":1,"prerenderedAt":1484},["ShallowReactive",2],{"subject-mo-shu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2555,"mo-shu","墨书","墨书画高清赏析","精选中国历代墨书题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfdbc265a420cd07d63696f5a0d1d7b.jpg",0,143,[14,42,61,77,96,108,121,132,147,158,173,188,200,217,229,243,258,270,283,296,307,321,330,345,356,368,378,393,406,414,431,442,452,463,473,485,493,502,512,521,530,539,550,561,571,581,593,603,618,638,649,661,670,682,691,701,714,724,732,740,748,756,765,774,783,793,803,813,824,833,843,852,861,870,882,891,899,909,918,927,936,944,952,962,973,982,991,999,1009,1018,1029,1038,1047,1055,1065,1074,1081,1091,1099,1112,1121,1130,1140,1149,1159,1167,1174,1181,1188,1198,1205,1212,1228,1236,1243,1250,1258,1265,1272,1280,1287,1306,1315,1324,1332,1341,1349,1355,1361,1369,1375,1384,1393,1402,1411,1420,1432,1439,1446,1453,1460,1467,1474],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","宋","黄庭坚","台北故宫博物院","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,24,25,26,27,28,7,29,30,31,32,33,34],"高清","名画","书法","行书","纸本","宋代","笔力劲健","结体舒展","顿挫有致","墨色变化","长卷","书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","白纸本","纵34.2公分，横199.5公分","书法精选",[38],169,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":54,"material":55,"size":56,"collection":38,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":60},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","晋","王献之","上海博物馆","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[24,51,34,25,52,27,7,53],"国画","草书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","绢本,水墨","26.1x26.9",[38],156,1,"795548",{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":72,"material":27,"size":73,"collection":38,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":41},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","元","赵孟頫","北京故宫博物院","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[23,25,70,52,33,27,7,71,53],"真书","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[38],118,3,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":67,"description":83,"tags":84,"thumbUrl":91,"material":27,"size":92,"collection":38,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":41},219153,"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","明","沈度","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[23,25,85,86,87,88,89,90,27,7],"楷书","明代","台阁体","工整","严谨","秀丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米",[38],111,5,{"id":97,"slug":98,"title":99,"dynasty":81,"author":100,"museum":67,"description":101,"tags":102,"thumbUrl":104,"material":27,"size":105,"collection":38,"collections":106,"showCount":107,"zanCount":59,"manualWeight":11,"mainColor":41},219147,"li-shu-xie-an-xiang-zan-juan-xu-lan-219147","隶书·谢安像赞卷","徐兰","此卷书法体势扁平，结字秀整，布白均匀，笔势舒展明朗，形体全以楷书体势为之，自具风神，是明代难得的隶书作品。",[23,86,103,25,33,7,53],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c850084992b955b62a2fb7b118df7.jpg","纵30.5厘米，横86.5厘米",[38],93,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":116,"material":117,"size":118,"collection":38,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":60},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","赵佶","辽宁省博物馆","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,24,51,34,33,26,25,53,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","手卷","行书35.5 x 214.6 cm",[38],81,{"id":122,"slug":123,"title":124,"dynasty":18,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":127,"material":128,"size":129,"collection":38,"collections":130,"showCount":131,"zanCount":59,"manualWeight":11,"mainColor":41},221267,"shu-han-shan-zi-pang-ju-shi-shi-juan-huang-ting-jian-221267","书寒山子庞居士诗卷","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[25,26,33,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdc8b7f6439835438af172d141a859d.jpg","纸本行书","纵29.1厘米，横213.8厘米",[38],62,{"id":133,"slug":134,"title":135,"dynasty":136,"author":137,"museum":20,"description":138,"tags":139,"thumbUrl":141,"material":27,"size":142,"collection":38,"collections":143,"showCount":145,"zanCount":146,"manualWeight":11,"mainColor":60},221050,"ping-shu-tie-zhi-guo-221050","评书帖","隋","智果","智果，隋仁寿年间书法家，师从智永，会稽（今浙江绍兴）人。隋炀帝曾说“智永得右军（王羲之）肉，智果得右军骨。”",[25,85,140,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe564d6e36aaa834951fd5f5ade936548.jpg","",[38,144],"碑帖精选",61,2,{"id":148,"slug":149,"title":150,"dynasty":151,"author":152,"museum":113,"description":153,"tags":154,"thumbUrl":155,"material":27,"size":142,"collection":38,"collections":156,"showCount":157,"zanCount":146,"manualWeight":11,"mainColor":41},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","唐","欧阳询","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[23,25,85,33,34,53,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[38],60,{"id":159,"slug":160,"title":161,"dynasty":46,"author":162,"museum":67,"description":163,"tags":164,"thumbUrl":167,"material":168,"size":169,"collection":38,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":172},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","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。",[25,26,7,165,140,34,166],"题跋","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[38,144],58,"F48FB1",{"id":174,"slug":175,"title":176,"dynasty":177,"author":178,"museum":179,"description":180,"tags":181,"thumbUrl":185,"material":142,"size":142,"collection":142,"collections":186,"showCount":187,"zanCount":59,"manualWeight":11,"mainColor":60},239655,"li-da-zhi-du-lun-juan-an-hong-song-239655","隶大智度论卷","南北朝","安弘嵩","藏地不详","此卷行草相间，通篇气脉贯通，千言笔墨一气呵成。起笔收锋间兼具写经的端谨虔诚与随性挥洒的灵动，墨色枯润相映，线条粗细交叠，带着六朝书法特有的清逸古雅。字里行间既有抄写佛典的肃穆沉静，又藏着书写者自然流露的文人笔致，章法绵密却不觉壅塞，字字顾盼有情，将宗教的沉静意趣与书法的飞扬神采相融，尽显写经书风的独特韵味，笔底沉潜着书写时的专注与敬虔。",[23,25,103,182,183,33,7,184],"写经","典籍","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e0dd9043d1aa7ac02bebd03554ef95.jpg",[],55,{"id":189,"slug":190,"title":191,"dynasty":18,"author":112,"museum":20,"description":192,"tags":193,"thumbUrl":196,"material":36,"size":197,"collection":142,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":41},221252,"shu-guai-shi-shi-zhao-ji-221252","书怪石诗","赵佶(（1082-1135） 即宋徽宗。北宋书画家。神宗子，哲宗时封端王。登位前，独好笔研丹青，图史射御。与王诜、赵令穰、黄庭坚、吴元瑜等交往。在位（1100-1125）期间，政治腐败，穷奢极侈，任由蔡京、童贯等权奸把持朝政，推行「守内虚外」政策，河北、山东、江南等地农民暴动迭起。\n公元1126年1月（宣和七年十二月），传位子赵桓（钦宗)，自称“太上皇”。1127年（靖康二年），与钦宗等被金兵俘虏，死於五国城之越里吉（今黑龙江依兰）。在位时广收历代文物、书画，极一时之盛；亲自掌管翰林图画院，使文臣编辑《宣和书谱》、《宣和画谱》、《宣和博古图》等书。任米芾为书画学博士，赐予画院的画家佩带金紫鱼袋，将画院列在其他各院（书、琴、棋等）之上。任命宋子房为主考官，用科举办法选拔画家，对绘画艺术，具有推动和倡导的贡献。擅书法，真书学薛曜，草书学黄庭坚，後自创瘦劲锋利如“屈铁断金”的“瘦金体”。《铁围山丛谈》谓：“裕陵（赵佶）作黄庭坚书体，後自成一法。”\n传世书迹有真书及草书《千字文卷》等，现藏上海博物馆。绘画得吴元瑜传授，继承崔白风格，重视写生，体物入微，以精工逼真著称；工花鸟，相传用生漆点鸟睛，尤见生动。认为画孔雀上墩，必先左脚。经观察一如期言。亦擅山水和人物。获有“妙体众行、兼备各法”之誉。但有些作品乃画院中高手代笔。画后押字用“天水”及“宣和”、“政和”小玺或用瓢印虫鱼篆文，还常押书“天下一人”。传世作品有《芙蓉锦鸡图》轴，现藏北京故宫博物院；《柳塘芦雁图》卷，藏上海博物馆；《摹张宣虢国夫人游春图》卷，藏辽宁省博物馆。",[25,194,7,195,53],"瘦金体","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74553f1d42cf7f1b11a62f410cab9735.jpg","44.5x61.9",[],51,{"id":201,"slug":202,"title":203,"dynasty":151,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":213,"material":142,"size":214,"collection":38,"collections":215,"showCount":216,"zanCount":59,"manualWeight":11,"mainColor":41},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","阎立本","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[25,26,207,33,34,208,27,7,209,210,211,212],"水墨","人物","人物题材","书卷形式","笔墨技法","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[38,144],50,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":20,"description":222,"tags":223,"thumbUrl":225,"material":36,"size":226,"collection":142,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":41},221260,"mo-ji-wang-chuan-tu-ba-qin-guan-221260","摩诘辋川图跋","秦观","余曩卧病汝南。友人高符仲携摩诘辋川图。过直中相示。言能愈疾。遂命童持于枕旁阅之。恍入华子冈。泊文杏竹里馆。与斐（应作裴）迪诸人相酬唱。忘此身之匏系也。因念摩诘画。意在尘外。景在笔端。足以娱性情而悦耳目。前身画师之语非谬已。今何幸复睹是图。仿佛西域雪山。移置眼界。当此盛夏。对之凛凛如立风雪中。觉惠连所赋。犹未尽山林景耳。吁。一笔墨间。向得之而愈病。今得之而清暑。善观者宜以神遇而不徒目视也。五月二十日。高邮秦观记。",[28,26,27,7,165,34,224],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e830ec8acd1dae73308208a6a36dc33.jpg","纵25.2、横39.4cm",[],49,{"id":230,"slug":231,"title":232,"dynasty":233,"author":234,"museum":20,"description":235,"tags":236,"thumbUrl":240,"material":142,"size":142,"collection":38,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":41},240404,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240404","吴昌硕篆书七言联","清","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[237,238,25,239,7],"篆书","对联","金石笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddb81776b0d1cf8ba430c1c7fbc09a0.jpg",[38],48,{"id":244,"slug":245,"title":246,"dynasty":18,"author":247,"museum":248,"description":249,"tags":250,"thumbUrl":254,"material":27,"size":255,"collection":142,"collections":256,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":142},220759,"yu-fu-ling-zi-cong-shan-ben-lan-xu-ting-zhao-gou-220759","御府领字从山本兰序亭","赵构","香港中文大学文物馆","王羲之原作赵构临本（*：赵构临本刻画）",[25,26,251,53,252,7,253],"拓本","碑帖","朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c11fe643b87c5f89c7183551bba413.jpg","26.2 × 12.5厘米",[],40,{"id":259,"slug":260,"title":261,"dynasty":81,"author":262,"museum":113,"description":263,"tags":264,"thumbUrl":266,"material":85,"size":267,"collection":38,"collections":268,"showCount":269,"zanCount":146,"manualWeight":11,"mainColor":41},220907,"qin-zheng-li-xue-zhen-dong-qi-chang-220907","勤政励学箴","董其昌","以进士官至礼部尚书，富收藏，精鉴赏，为明代晚期的画坛领袖，松江画派的创立者。\n书画集历代名家之长，各有新创，并以“南北宗”理论，对清代艺坛产生了重要影响。\n董其昌书法创作以行草最多，造诣最高，然其楷书造诣颇深、具相当功力。\n此卷是其楷书中的精湛之作，传达出淡雅萧散的逸韵。",[23,25,26,265,27,7,53],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8217a2ea94d85fd4a984c4058d02b43b.jpg","纵214.5厘米，横61.8厘米",[38],38,{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":20,"description":275,"tags":276,"thumbUrl":279,"material":85,"size":280,"collection":142,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":41},221367,"zheng-jian-yi-ming-gong-chi-du-cai-xiang-221367","政谏议明公尺牍","蔡襄","这幅楷书尺牍，可以说有很多颜真卿的根基和面貌，五代以后，但凡学书者，多少都会受到颜真卿影响。首先，结构上有顾盼和内在联系，像“拜”、“亲”、“赐”、“谏”等有些字，两部分相互倾斜，整体感觉却是平衡，体现出了体态的娇娆轻盈。其次，转折处多用顿笔，提按也分明不显露。不过颜真卿楷书是横细竖粗，力度较大，蔡襄楷书是行云流水，曲雅端庄。这点他们还是明显有区别的。然后，各种戈钩很有虞世南书风，特点就是刚劲挺拔，有很强的骨力感，而且很多钩都形态各异，变化丰富。",[25,26,18,7,27,277,278],"尺牍","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d057a70693ac660746933244f80aab.jpg","28.8x158.6cm",[],31,{"id":284,"slug":285,"title":286,"dynasty":233,"author":287,"museum":179,"description":288,"tags":289,"thumbUrl":291,"material":292,"size":293,"collection":142,"collections":294,"showCount":295,"zanCount":59,"manualWeight":11,"mainColor":41},223692,"lin-jiu-cheng-gong-yao-meng-qi-223692","临九成宫","姚孟起","字凤生，一作凤笙，吴县（江苏苏州）贡生。以正书名，正书宗欧阳询，尝临九成宫醴泉铭逼肖。隶书略仿陈鸿寿。兼治印，得蒋仁秀劲之气。偶作画，古拙如金农。",[23,25,85,290,71,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed869c5c6cdfb78b48841d0312bddbd.jpg","未知","Xcm*Xcm",[],30,{"id":297,"slug":298,"title":299,"dynasty":151,"author":300,"museum":179,"description":301,"tags":302,"thumbUrl":305,"material":142,"size":142,"collection":38,"collections":306,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":60},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","佚名","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[23,303,182,85,25,33,184,183,304,7],"唐代","纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[38],{"id":308,"slug":309,"title":310,"dynasty":81,"author":311,"museum":312,"description":313,"tags":314,"thumbUrl":316,"material":317,"size":318,"collection":142,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":60},222090,"zhang-cao-sun-guo-ting-shu-pu-ce-song-ke-222090","章草《孙过庭书谱册》","宋克","美国普林斯顿大学美术馆","宋克章草《孙过庭书谱册》，是赠送给他的好友俞孟京的，后未署书写年月，但纵观此册作品，熔楷、行、章草于一炉，笔力清劲健古，结字疏宕萧散，通篇千余字一气呵成，无一懈笔，真可谓于精到处见豪放，于细微中见功力，笔笔如入嫌素一般，令人叹为观止。\n元代末年,朱元璋在群雄中崛起,驱逐蒙元,建都南京,自洪武元年(1368)开创了明王朝。明代初期在书法上基本延袭了赵孟畹奈冉》绺,以三宋（宋璲、宋克、宋广）和二沈（沈度、沈粲）为代表的书家,除宋克的章草尚有一定特色之外,其他书家在创意上显得比较靡弱,尽管有几位书家在当时名声很大,特别是永乐宣德年间,沈度、沈粲兄弟二人因受到成祖皇帝宠遇,一时声名显赫,朝廷的重要文件都由此二人书写,于是竞相仿习,个性丧失殆尽,至明代中叶,吴中书家的崛起,书风遂为之一转。",[23,315,52,25,71,140,7,290],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a53cb59f459ccd452d8a8f378905fe.jpg","残本","纵32厘米，横20.5厘米",[],27,{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":325,"tags":326,"thumbUrl":327,"material":142,"size":142,"collection":142,"collections":328,"showCount":329,"zanCount":59,"manualWeight":11,"mainColor":41},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[24,34,25,26,207,27,117,7,53,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],26,{"id":331,"slug":332,"title":333,"dynasty":81,"author":262,"museum":20,"description":334,"tags":335,"thumbUrl":341,"material":27,"size":342,"collection":38,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":41},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","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。",[23,24,51,34,265,26,290,7,86,336,337,25,338,166,339,340],"文人书法","行草","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[38],24,{"id":346,"slug":347,"title":348,"dynasty":18,"author":274,"museum":20,"description":349,"tags":350,"thumbUrl":351,"material":352,"size":353,"collection":142,"collections":354,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":41},221369,"zi-shu-xie-biao-bing-shi-juan-cai-xiang-221369","自书谢表并诗卷","北宋时期，著名书家蔡襄曾得到仁宗皇帝御书赐字『君谟』。为此，蔡襄深感皇恩，楷书谢表并赋七言诗一首︰『臣襄伏蒙联合会下特遣中使赐臣御书一轴，其文曰︰御笔赐字君莫者。臣孤贱远人，无大才艺，陛下亲宸翰，推着经义，俾臣佩诵以尽谟谋之道……。』卷后，有米芾、鲜于枢、解缟、吴宽、陈继儒、董其昌、张祖翼=罗振玉等众多宋、元、明、清名人题跋。这卷流传有绪的墨迹曾经南宋赵明诚收藏，无代曾为乔篑成收藏，明代曾经黄钟、赵用贤收藏，清初为安岐收藏，后又总计著名沣收藏，清末为端方所藏。后流入日本国，现藏于日本书道博物馆。全卷纵二十九点三厘米，横长总计八百二十九点五厘米。据方家评说，台北故官博物院、日本东京国立博物馆也藏有这卷墨迹的不同书写本，但本卷最佳。",[25,26,33,53,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","卷","全高25.8隔水一10.8本幅25x10",[],23,{"id":357,"slug":358,"title":359,"dynasty":18,"author":360,"museum":20,"description":361,"tags":362,"thumbUrl":364,"material":27,"size":365,"collection":38,"collections":366,"showCount":367,"zanCount":59,"manualWeight":11,"mainColor":41},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[23,28,34,25,26,207,7,363],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[38],22,{"id":369,"slug":370,"title":371,"dynasty":18,"author":372,"museum":20,"description":373,"tags":374,"thumbUrl":375,"material":376,"size":142,"collection":38,"collections":377,"showCount":367,"zanCount":59,"manualWeight":11,"mainColor":41},219641,"zhi-zhi-fu-she-ren-chi-du-zhao-bian-219641","致知府舍人尺牍","赵抃","落笔瘦劲爽利，提转藏裹间尽显温润君子气度。通篇章法疏朗留白，气息匀净安宁，无一字赘笔炫技，只以凝练沉稳的笔墨，写就日常谢启心绪。将宋代尚意风雅融于尺牍寸方，把文人清简端方的襟怀藏于毫端。作为日常书札，不见刻意雕琢，只以平实笔触叙写往来，随性雅致间尽显宋人手札的萧散意趣，尺幅虽小却余韵悠长，尽显士大夫的清雅风骨。",[25,26,277,27,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce50dd9ba6240140838dd3d.jpg","绢本",[38],{"id":379,"slug":380,"title":381,"dynasty":18,"author":19,"museum":20,"description":382,"tags":383,"thumbUrl":389,"material":27,"size":390,"collection":142,"collections":391,"showCount":392,"zanCount":11,"manualWeight":11,"mainColor":41},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[23,25,26,28,384,385,32,386,53,7,387,388],"中锋行笔","笔画劲健","章法布局","笔力雄健","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],21,{"id":394,"slug":395,"title":396,"dynasty":233,"author":397,"museum":67,"description":398,"tags":399,"thumbUrl":401,"material":402,"size":403,"collection":38,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":41},240453,"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","何绍基","释文：\n古砚华笺分桂上露，清言妙理来松下风。\n韫斋大公祖大人正。弟何绍基。\n款署 ：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[238,25,85,53,7,400],"纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纸本，楷书","纵191.4厘米，横42.8厘米",[38],20,{"id":407,"slug":408,"title":409,"dynasty":18,"author":19,"museum":179,"description":410,"tags":411,"thumbUrl":412,"material":142,"size":142,"collection":142,"collections":413,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":41},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 1086-1093元祐年间。此帖深得张旭、怀素草书飞动洒脱之神韵。用笔紧峭，瘦劲奇崛，气势雄健，结体变化多端。从首行下笔处，便见笔墨自由舒展，至末尾更显随意，可谓心手双畅，臻入化境。此篇手札虽小，而意含万千气象，达到了东坡所谓“少小时须气象峥嵘、彩色绚烂，渐老渐熟，乃造平淡”、“无意于佳乃佳”的境界。",[24,51,34,26,53,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f56cd8e80bf195332966996f270d3b.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":81,"author":418,"museum":419,"description":420,"tags":421,"thumbUrl":428,"material":27,"size":429,"collection":142,"collections":430,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":41},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","王宠","天津博物馆","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[23,26,25,33,7,422,423,424,425,53,426,427],"园林","山水","池沼","亭阁","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":432,"slug":433,"title":434,"dynasty":18,"author":19,"museum":20,"description":435,"tags":436,"thumbUrl":439,"material":142,"size":142,"collection":142,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":41},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。",[34,25,26,7,53,28,437,438],"墨迹","信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],19,{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":179,"description":447,"tags":448,"thumbUrl":449,"material":142,"size":142,"collection":142,"collections":450,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":41},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”",[24,51,34,25,71,26,7,27,437,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],18,{"id":453,"slug":454,"title":455,"dynasty":151,"author":300,"museum":67,"description":456,"tags":457,"thumbUrl":458,"material":459,"size":460,"collection":38,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":41},223395,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[23,25,182,33,85,53,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[38],17,{"id":464,"slug":465,"title":466,"dynasty":18,"author":467,"museum":20,"description":468,"tags":469,"thumbUrl":470,"material":36,"size":471,"collection":142,"collections":472,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":41},221312,"zhi-ji-chang-chi-du-su-shi-221312","致季常尺牍","苏轼","这幅作品质朴敦厚，用笔凝重，笔画丰腴多肉，且结字偏斜，前半段的情感平和，逐渐趋於起伏，所以全作字形大小、笔画粗细、字体型态等也随之改变，相当具有变化的趣味。\n苏轼一生宦海浮沉，谪居于黄州的期间，正是他艺术创作的顶峰时期，这幅作品即是他在这段时间所作的行书精品之一，充满了文人交往的日常生活气息，作品遒劲茂丽，神采动人。",[34,25,26,140,27,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60783d4a02d7273a68e936dd5f9183c.jpg","30.3 X 48.6cm",[],{"id":474,"slug":475,"title":476,"dynasty":233,"author":477,"museum":179,"description":478,"tags":479,"thumbUrl":482,"material":292,"size":293,"collection":142,"collections":483,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":41},230263,"si-ping-hong-yi-fa-shi-230263","四屏","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。",[23,480,25,103,481,27,7],"清代","屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162bbf418323ec59aee6ce0ccfdae51b.jpg",[],16,{"id":486,"slug":487,"title":488,"dynasty":18,"author":467,"museum":179,"description":489,"tags":490,"thumbUrl":491,"material":142,"size":142,"collection":142,"collections":492,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":41},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。",[23,25,26,166,304,53,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":151,"author":300,"museum":179,"description":497,"tags":498,"thumbUrl":499,"material":142,"size":142,"collection":38,"collections":500,"showCount":501,"zanCount":59,"manualWeight":11,"mainColor":60},221120,"da-ban-nie-pan-jing-di-er-shi-er-juan-yi-ming-221120","大般涅槃经第二十二卷","此卷小楷笔致朴拙温雅，结体端稳暗含灵动意趣，起收间带着沉静禅意。墨色沉郁苍古，晕染在泛黄斑驳的纸面之上，与岁月留下的痕迹相融，晕开千年的沉静质感。\n\n通卷书写匀净工稳，既恪守抄经的庄重法度，又自然流露书写者松弛的笔意，朱印错落点缀其间，为古卷更添传世厚重底蕴，是宗教文本与书法美学的相融之作，尽显晚唐写经的典型风骨，静静诉说着时光里的虔敬雅致。",[23,182,25,85,33,184,303,183,7,304,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b70d2d532ac513d52eaa3284f09d462.jpg",[38],15,{"id":503,"slug":504,"title":505,"dynasty":233,"author":506,"museum":179,"description":507,"tags":508,"thumbUrl":509,"material":292,"size":293,"collection":142,"collections":510,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":41},241358,"jie-lu-du-fu-dong-xi-liang-chuan-shuo-ping-zhao-zhi-qian-241358","节録杜甫东西两川说屏","赵之谦","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,85,53,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba86a0cc8745dcba35170f7e29fc5ae9.jpg",[],14,{"id":513,"slug":514,"title":515,"dynasty":233,"author":516,"museum":179,"description":517,"tags":518,"thumbUrl":519,"material":292,"size":293,"collection":142,"collections":520,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":41},241289,"kai-shu-shi-zha-li-fang-241289","楷书诗札","李芳","李芳，字信甫，江苏武进人。诸生，道光十五年（一八三五）顺天乡试挑取誊录，官海州教谕。工诗，书法二王。尤善画山水，不宗一家，笔意苍厚峻拔，绝无甜輭习气。间写梅竹小品，亦古劲有致。当太平天国之后以忧去官返里，遂不复出。卒年七十七。《毘陵画徵录》",[85,25,7,27,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff150ff2ec450cd21b0b13d6cea82738e.jpg",[],{"id":522,"slug":523,"title":524,"dynasty":233,"author":525,"museum":179,"description":526,"tags":527,"thumbUrl":528,"material":292,"size":293,"collection":142,"collections":529,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":60},228945,"shi-lv-quan-xiao-si-fu-ping-deng-shi-ru-228945","世虑全消四幅屏","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[23,25,103,481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bcc0ef104d2131a7e6e7e9808c7cf7.jpg",[],{"id":531,"slug":532,"title":533,"dynasty":18,"author":534,"museum":179,"description":535,"tags":536,"thumbUrl":537,"material":292,"size":293,"collection":142,"collections":538,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":41},227327,"za-shi-tie-shou-juan-liu-duan-wu-ju-227327","杂诗帖手卷六段","吴琚","南宋吴琚《杂诗帖卷》手卷,以行、草书杂录前人诗句共十则,书于十纸之上,裱为六段,其中数则有缺佚字句。",[23,25,26,33,71,53,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fdb64e7efcad543c74255e4b492a0a.jpg",[],{"id":540,"slug":541,"title":542,"dynasty":81,"author":300,"museum":179,"description":543,"tags":544,"thumbUrl":547,"material":292,"size":293,"collection":142,"collections":548,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":41},240964,"tang-yin-zi-shu-shi-shan-mian-yi-ming-240964","唐寅自书诗扇面","这件行书扇面笔致爽利劲健，结体欹侧灵动，带着疏宕放逸的才子意趣。墨色浓淡晕染自然，字势循着诗词情思流转起落，开篇跳脱明快，渐而愈发舒展洒脱，将诗句中的缱绻柔思尽数融于笔墨开合之间。泥金笺底晕衬出笔墨的温润华彩，诗书相映成趣，把江南文人的浪漫才情铺陈于尺幅之间。虽形制小巧，却自具疏朗跌宕的雅致格局，尽显隽秀放逸的书风特质，是一件诗笔相融的雅致小品。",[81,545,25,26,53,7,546],"扇面","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b5c8b8e4f061f1b18f8d18a62effc1.jpg",[],12,{"id":551,"slug":552,"title":553,"dynasty":233,"author":554,"museum":179,"description":555,"tags":556,"thumbUrl":558,"material":292,"size":293,"collection":142,"collections":559,"showCount":560,"zanCount":11,"manualWeight":11,"mainColor":41},241678,"yi-you-zheng-yue-shi-yi-ri-yan-chun-ge-gong-feng-huang-tai-hou-guan-deng-ji-shi-yi-lv-heng-pi-qian-long-241678","乙酉正月十一日延春阁恭奉皇太后观灯即事一律横披","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[25,26,557,53,7],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3684252d22865fe050d04aa62e6d81cb.jpg",[],11,{"id":562,"slug":563,"title":564,"dynasty":565,"author":300,"museum":179,"description":566,"tags":567,"thumbUrl":569,"material":292,"size":293,"collection":142,"collections":570,"showCount":560,"zanCount":11,"manualWeight":11,"mainColor":41},230528,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-yi-ming-230528","古抄残卷《白氏文集》第三巻","不详","此卷小楷端秀匀整，笔势圆融温润，暗合唐人写经笔法遗韵。行字排布疏朗舒和，墨色经岁晕染斑驳，更添沉厚古意。抄录诗文笔致恭谨，字句间可窥昔人传抄时的用心。泛黄纸页上的水渍晕痕，如时光烙下的印鉴，晕开旧时光晕，将千载前的文思与笔墨温度一并留存。落笔藏锋敛锷，筋骨暗藏，既有法度又不失灵动，尽显雅致风骨，静静诉说着典籍流转的悠悠岁月。",[25,85,568,183,7,27],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60ce269c7c8751a2d646ce35d8405e6.jpg",[],{"id":572,"slug":573,"title":574,"dynasty":233,"author":575,"museum":179,"description":576,"tags":577,"thumbUrl":578,"material":142,"size":142,"collection":38,"collections":579,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":41},239918,"zhi-lian-shang-shi-ye-hong-wu-239918","致莲裳诗页","洪梧","生卒年不详，清代人，活动于乾隆年间。安徽歙县人，字桐生，洪榜弟，乾隆进士，由编修官沂州知府。其学博通古今，邃于《经》学。亦工词翰，擅书法。清·包世臣《艺舟双楫》评其小真书为佳品上。《中国书法大辞典》等收录。",[233,25,85,27,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2d2e1e2efa236aaa405605d4f13151.jpg",[38],10,{"id":582,"slug":583,"title":584,"dynasty":81,"author":585,"museum":179,"description":586,"tags":587,"thumbUrl":591,"material":142,"size":142,"collection":144,"collections":592,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":41},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册","黄道周","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[23,25,182,85,140,207,27,34,588,589,81,7,224,88,590],"文字","儒家","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[144],{"id":594,"slug":595,"title":596,"dynasty":18,"author":597,"museum":67,"description":598,"tags":599,"thumbUrl":600,"material":26,"size":601,"collection":38,"collections":602,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":172},239577,"ti-xu-xuan-zhuan-shu-tie-lou-yao-239577","题徐铉篆书帖","楼钥","“舊見岸老筆談載騎省竵匾之說，近有敷原王季中、彥良，實襄敏諸孫。余及見其莫年，嘗問古人篆字真迹，何以無燥筆。季中笑曰：‘罕有問及此者，蓋古人力在腕，不盡用筆力。今人以筆爲力，或燒筆使禿而用之，移筆則墨已燥矣。’今觀此軸，信然。子孫非不甚工，惜其自壞家法，反以端直姿媚售一時，後進競效之，古意頓盡，但可爲知者道爾。紹熙改元清明。鮚埼樓鑰。”钤“鑰”。\n又题：“紹熙之元，歲在庚戌。余與季路同爲南廟考官，嘗題此卷。今二十年矣。二十年間，何所不有，年號亦四改，時事可知。季路居太末，余挂冠甬東，豈復有再見之理。更化之後，乃復會於此，撫卷爲之增慨。余方求歸，再識歲月，嘉定三年仲夏朔日，書于攻愧齋。”钤“钥”、“攻愧斋”。\n楼钥此跋原书于徐铉篆书《项王亭赋》后，分前后两则，书写时间相距20年。前跋作于绍熙改元（1190年），楼钥时年54岁。后跋作于嘉定三年（1210年），楼钥时年74岁。跋中“骑省”即徐铉，字鼎臣，初仕南唐，入宋官至散骑常仕，有《骑省集》三十卷，宋代著名书家，精小篆。“季路”为汪逵的字，南宋孝宗乾道年间进士，嘉定初为太常卿，累官吏部尚书。\n此帖书法方正，用笔随意，捺笔微掺隶意。《书史会要》称楼钥“善大字，高宗时太学成，奉敕书匾”，在当时也是颇有名气的书法家。",[25,26,237,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd6a187af17d447a9e5aeb247efc7ab.jpg","纵26.7厘米，横78.3厘米",[38],{"id":604,"slug":605,"title":606,"dynasty":565,"author":300,"museum":179,"description":607,"tags":608,"thumbUrl":616,"material":292,"size":293,"collection":142,"collections":617,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":60},231830,"nan-bei-chao-sheng-man-shi-zi-hou-yi-cheng-da-fang-bian-fang-guang-jing-sheng-man-jing-yi-ming-231830","南北朝 胜鬘师子吼一乘大方便方广经 胜鬘经","这卷写经以泛黄古纸为底，手绘花叶作界格点缀，古雅静谧扑面而来。其书为规整写经楷书，结体匀停端庄，笔画舒展秀润，笔力内敛沉实。通篇排布齐整，气息平和肃穆，尽显写经时的虔敬心力，毫无板滞匠气，在法度谨严中带着灵动雅致。笔墨晕染着六朝写经特有的沉静韵味，既体现写经书法的庄严工整，又暗藏书写者静定的笔底风神，是兼具宗教人文意蕴与书法审美价值的珍本。",[25,182,7,85,27,33,609,88,89,610,611,612,613,614,615],"古朴","纵向排列","文字密集","边缘饰彩色叶状图案","墨色浓黑","字迹清晰","传统书法风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fe4a7b73f7273519276850c949b94.jpg",[],{"id":619,"slug":620,"title":621,"dynasty":18,"author":622,"museum":179,"description":623,"tags":624,"thumbUrl":636,"material":142,"size":142,"collection":142,"collections":637,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":41},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","马远","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,51,34,33,26,53,25,207,625,208,626,627,628,629,630,423,631,632,633,7,376,634,635],"设色","田园","草木","农具","民俗","白描","农事场景","传统服饰","古文字","工笔","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":639,"slug":640,"title":641,"dynasty":565,"author":300,"museum":642,"description":643,"tags":644,"thumbUrl":647,"material":292,"size":293,"collection":142,"collections":648,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":60},226511,"xie-jing-p-4501-fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-226511","写经P.4501佛顶尊胜陀罗尼经卷一","敦煌","佛顶尊胜陀罗尼，尊胜佛顶尊之陀罗尼也。帝释天，悯善住天子有从今受七度畜生恶道身之业因，诣祇园精舍请佛救济之法，佛为说此陀罗尼，令诵之。尊胜陀罗尼经曰：“告帝释言：天帝有陀罗尼名为如来佛顶尊胜，能净一切恶道，能净除一切生死苦恼。（中略）佛告天帝：此佛顶尊胜陀罗尼，若有人闻一经于耳，先世所造一切地狱恶业皆悉消灭。”",[25,182,184,7,33,645,646,85],"古籍","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb934fc0031f87f7f2495d22609071206.jpg",[],{"id":650,"slug":651,"title":652,"dynasty":65,"author":653,"museum":67,"description":654,"tags":655,"thumbUrl":656,"material":657,"size":658,"collection":38,"collections":659,"showCount":660,"zanCount":11,"manualWeight":11,"mainColor":60},239640,"huai-cun-zhai-shi-tie-ye-chen-zhi-239640","怀存斋诗帖页","陈植","释文：\n九日有怀存斋隐君一首，聊发一笑。并呈云林先生，植顿首上。\n冉冉秋复冬，凄凄寒栗烈。澒洞风尘际，念子久睽别。林屋雨山间，雅怀寄奇绝。沦迹屏纷嚣，蕴真独悟悦。高崖延白云，清沂弄华月。穷搜吊荒亡，松下寻古碣。摩挲读漫字，皮陆名炳列。感慨赋（点去）賸萹什，玄谈唾霏屑。时从仙侣游，或迓支郎谒。思归笠泽秋，扁舟昕旦发。青旻风日澹，丹葩媚林樾。江空景澄霁，水落石齾齧。今朝定何朝，霜菊粲可撷。汎汎黄金英，眷言此嘉节。负痾志願违，怀君释悁结。载歌伐木诗，嗟彼朋友缺。美人不可亲，耿耿中心□。毋惜问音徽，庶以慰饥渴。\n此帖无题跋。帖后自钤“慎独斋”、“一丘一壑”印两方。\n鉴藏印钤有明项元汴“项子京家珍藏”，清孙承泽“北平孙氏”、安岐“安氏仪周书画之章”，近代衡永“衡酒仙家珍藏”等。\n《怀存斋诗帖》以诗代柬，是陈植写给朋友“存斋隐君”的一首五言诗。“存斋”即沈右，沈右自署“存存斋。”明陈基《夷白斋稿》中有“存存斋记”一篇，云：“沈君仲说（沈右字仲说）隐居于吴会，耕学于笠泽，庐于陈公之原，而皆名其室曰存存斋”。此诗句中“思归笠泽秋”也与上记相符。在沈右的书札中也常提及陈植，故宫藏《中酒杂诗并简帖》就是其写给陈植的书札，可见二人交往密切。“云林”即倪瓒，时亦在吴中。\n此书有赵孟頫书法的规模，体势方峻、流便，笔画略显潦草，起笔、收笔处未尽到位，而显示出较随意、迅疾、无意求工的行笔特色。",[25,26,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f2e585985f2a8a66c29b8ed56bb5fc.jpg","纸本，行书","纵23.3厘米，横56.4厘米",[38],9,{"id":662,"slug":663,"title":265,"dynasty":81,"author":664,"museum":179,"description":665,"tags":666,"thumbUrl":668,"material":142,"size":142,"collection":142,"collections":669,"showCount":660,"zanCount":11,"manualWeight":11,"mainColor":60},228768,"li-zhou-ni-yuan-lu-228768","倪元璐","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[23,25,26,52,265,53,7,667,86],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":65,"author":674,"museum":179,"description":675,"tags":676,"thumbUrl":679,"material":292,"size":293,"collection":142,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":41},241012,"yu-shi-zhen-juan-can-pian-xian-yu-shu-241012","御史箴卷残片","鲜于枢","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[25,26,53,677,678,7,27],"残片","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b52e364f68ca3ff6c81ea9b767f25c3.jpg",[],8,{"id":683,"slug":684,"title":685,"dynasty":81,"author":300,"museum":179,"description":686,"tags":687,"thumbUrl":689,"material":142,"size":142,"collection":38,"collections":690,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":60},240174,"wu-kuan-li-yu-mu-dong-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240174","无款李愈母董氏嘉靖十五年诰命卷","此作为典型明代御制诰命，以标准馆阁体书就，笔致匀整方正，端秀雅正，尽显皇家文书的庄重威仪。文辞典丽雍容，叙写朝廷覃恩褒奖臣工母氏的荣宠，尽显封建恩荣规制。两侧钤盖的朱印浑朴方正，朱泥历久鲜亮，与墨色书法、古雅绢底相互映衬，整体气息肃穆端严，既为明代官方书法的范本，亦是探究彼时诰命制度、士林恩荣的珍贵实物遗存。",[86,85,53,34,33,25,688,7],"诰命","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94da1059059a572addd614a7a9ea1a05.jpg",[38],{"id":692,"slug":693,"title":694,"dynasty":151,"author":300,"museum":179,"description":695,"tags":696,"thumbUrl":699,"material":142,"size":142,"collection":38,"collections":700,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":60},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。",[303,25,26,437,697,183,646,698,645,7],"残页","汉字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[38],{"id":702,"slug":703,"title":704,"dynasty":65,"author":705,"museum":67,"description":706,"tags":707,"thumbUrl":711,"material":27,"size":712,"collection":38,"collections":713,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":41},239622,"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[25,26,207,53,27,708,709,7,710],"元代书法","毛笔书写","行书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[38],{"id":715,"slug":716,"title":717,"dynasty":65,"author":718,"museum":67,"description":719,"tags":720,"thumbUrl":721,"material":27,"size":722,"collection":38,"collections":723,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":41},239617,"song-gan-er-shi-tie-ye-zhang-yu-239617","送柑二诗帖页","张雨","释文：\n次韵谢天镜上人送柑：肚能紧束三条篾，手亦亲栽两棵梨。尚忆黄甘三百颗，好山多在洞庭西。\n尘中谁识罗公远，一嗅黄（此字点去）香甘瓣瓣轻。不似枇杷金弹子，只供游侠打啼莺。天雨。\n钤“句曲外史”印。鉴藏印钤“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭敬”等11方。\n据明姚广孝《逃虚子集》记载，文中“天镜”指杭州灵隐寺僧人圆净。圆净字天镜，著有《朴园集》。\n李日华云：“伯雨书性极高，人言其请益赵魏公（元代赵孟頫），公授以李泰和（唐代李邕）《云麾碑》，书顿进。”此帖舒放俊丽，清和闲雅，有赵书遗意，但刚劲峻拔，又有李邕风格，给人以用笔精紧、遒逸清新之感。",[25,26,71,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a53837f4c863dcfb41fc99bef941bc.jpg","纵26.5厘米, 横29.4厘米",[38],{"id":725,"slug":726,"title":727,"dynasty":233,"author":477,"museum":179,"description":728,"tags":729,"thumbUrl":730,"material":27,"size":142,"collection":142,"collections":731,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":41},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚","李叔同（1880—1942），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。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。",[23,233,34,25,26,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":733,"slug":734,"title":735,"dynasty":233,"author":234,"museum":179,"description":736,"tags":737,"thumbUrl":738,"material":292,"size":293,"collection":142,"collections":739,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":60},230223,"zhuan-shu-hai-shan-xian-guan-wu-chang-shuo-230223","篆书海山仙馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,25,237,53,34,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3fe639f942a0433a92ff7dbb380fa8.jpg",[],{"id":741,"slug":742,"title":743,"dynasty":233,"author":554,"museum":179,"description":555,"tags":744,"thumbUrl":745,"material":292,"size":293,"collection":142,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":60},241671,"xiao-xian-huang-hou-wan-shi-juan-qian-long-241671","孝贤皇后挽诗卷",[23,25,33,26,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a0bd11e74d15b4553b7e52eb7d9102.jpg",[],7,{"id":749,"slug":750,"title":751,"dynasty":233,"author":300,"museum":179,"description":752,"tags":753,"thumbUrl":754,"material":292,"size":293,"collection":142,"collections":755,"showCount":747,"zanCount":59,"manualWeight":11,"mainColor":41},241587,"chen-da-lin-wen-dai-zhao-shu-hou-chi-bi-fu-ye-yi-ming-241587","陈大临文待诏书后赤壁赋页","此作为小楷抄录《后赤壁赋》，笔法清劲凝练，结体端稳舒展，尽显晋唐小楷雅正意趣。通篇气息匀净平和，起收笔含蓄内敛，提按顿挫皆见法度，点画排布错落有致，字字独立却气脉贯通。笔墨晕染出文人闲适散淡的意韵，将东坡文辞里月夜江渚的幽寂意境，与抄录时的沉静雅致融为一体，尽显书写者不俗的笔墨功底与清雅的文人意趣，是一件颇具韵致的书法小品。",[233,25,26,53,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4e22570f81bc899390600b2db6e217.jpg",[],{"id":757,"slug":758,"title":759,"dynasty":81,"author":760,"museum":179,"description":761,"tags":762,"thumbUrl":763,"material":292,"size":293,"collection":142,"collections":764,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":41},241182,"ming-wen-zheng-ming-shou-zha-wen-zheng-ming-241182","明文徵明手札","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”。",[23,25,26,7,278,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c98196188bd1c8af15ea72a6627650.jpg",[],{"id":766,"slug":767,"title":768,"dynasty":81,"author":769,"museum":179,"description":770,"tags":771,"thumbUrl":772,"material":292,"size":293,"collection":142,"collections":773,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":172},241037,"shu-lin-di-wang-fa-tie-qi-ze-juan-wang-duo-241037","书临帝王法帖七则卷","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[25,33,26,52,290,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53dc66749c747a5e3a92629fdbd8abf.jpg",[],{"id":775,"slug":776,"title":777,"dynasty":233,"author":778,"museum":179,"description":779,"tags":780,"thumbUrl":781,"material":292,"size":293,"collection":142,"collections":782,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":41},240841,"shu-zha-ce-lin-ze-xu-240841","书札册","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。",[233,25,26,140,7,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c08d67a78ebb50ca5f6d0e5bb02b15d.jpg",[],{"id":784,"slug":785,"title":786,"dynasty":81,"author":787,"museum":788,"description":789,"tags":790,"thumbUrl":791,"material":376,"size":142,"collection":38,"collections":792,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":41},240028,"zi-shu-shi-juan-li-dong-yang-240028","自书诗卷","李东阳","湖南省博物馆","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[23,25,26,33,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[38],{"id":794,"slug":795,"title":796,"dynasty":81,"author":760,"museum":48,"description":761,"tags":797,"thumbUrl":800,"material":27,"size":801,"collection":142,"collections":802,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":41},221945,"qi-lv-shi-jiang-cheng-qiu-se-wen-zheng-ming-221945","七律诗江城秋色",[23,25,26,265,7,798,698,799],"秋景","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a91d53d4f49e7a339785a9df6b505d7.jpg","122x59cm",[],{"id":804,"slug":805,"title":806,"dynasty":233,"author":807,"museum":179,"description":808,"tags":809,"thumbUrl":810,"material":292,"size":293,"collection":142,"collections":811,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":41},241204,"zhuan-shu-lu-yu-heng-huang-shi-ling-241204","篆书录语横","黄士陵","黄士陵，字牧甫（一作穆甫、穆父），号倦叟，别号黟山人、黟山病叟、倦叟、倦游窠主，先后又有蜗篆居、延清芬室等斋号。是篆刻“黟山派”开宗大师，晚清时期书画篆刻家。",[25,237,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf588d1f9a152b5a262acc3f0e684a57.jpg",[],6,{"id":814,"slug":815,"title":816,"dynasty":65,"author":817,"museum":20,"description":818,"tags":819,"thumbUrl":820,"material":821,"size":822,"collection":38,"collections":823,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":41},221765,"zhi-tai-pu-nei-han-chi-du-yu-que-221765","致太朴内翰尺牍","余阙","余阙(1303-1358)，西域唐兀氏，世居甘肃武威，后随父居安徽庐州。元统元年(1333)进士，历任翰林学士、监察御史，曾参与修宋辽金史。本幅写予「太僕内翰」，即时任翰林应奉的危素(1303-1372)，右幅仍可见余阙封缄题名，旁有「至正九年七月十九日至」，或为收信人所题写日期。余阙此信首先感谢自己南行前，危素为之饯行情谊；再因友人北上大都，余阙特以书函请危素惠与青睐推举。余阙书风看似不经意，实有晋人风骨。",[23,25,26,7,34,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce88adcf23a58a06bd84f565dae5e81.jpg","紙本","42.5x76.3 厘米",[38],{"id":825,"slug":826,"title":827,"dynasty":81,"author":828,"museum":179,"description":829,"tags":830,"thumbUrl":831,"material":27,"size":142,"collection":38,"collections":832,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240988,"zhi-feng-gang-zha-heng-chu-zhen-240988","致凤岗札横","储浈","这件行书尺牍以随性笔墨尽显文人日常意趣，起收间不失帖学法度，笔画灵动舒展，字势错落揖让，带着书写时松弛自如的状态。墨色随书写节奏呈现浓淡枯湿的自然变化，行间留白疏朗通透，尽显明代帖学流丽秀雅的气质。\n\n作为日常寄友的手札，将家常问候化入流动线条，笔墨间藏着书写者的闲散意态，实用尺牍在此成为兼具情谊与美感的书法小品，尽显文人简淡萧散的审美意韵，让笔墨与心绪相融，处处皆是雅致的日常诗意。",[25,26,278,207,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39aa5822bf9edbbf973932009781ecc.jpg",[38],{"id":834,"slug":835,"title":836,"dynasty":233,"author":837,"museum":179,"description":838,"tags":839,"thumbUrl":841,"material":292,"size":293,"collection":142,"collections":842,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},240698,"zhuan-shu-bi-lang-gan-guan-heng-hong-liang-ji-240698","篆书碧琅玕馆横","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[480,237,25,53,7,698,840,557],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2264c912a2edff6ffced1add31d16754.jpg",[],{"id":844,"slug":845,"title":846,"dynasty":233,"author":847,"museum":179,"description":848,"tags":849,"thumbUrl":850,"material":142,"size":142,"collection":38,"collections":851,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},239812,"shi-zhi-gong-fu-ye-wu-song-liang-239812","诗致功甫页","吴嵩梁","吴嵩梁（1766-1834），字子山，号兰雪，晚号澈翁，别号莲花博士、石溪老渔。江西东乡新田（今属红光垦殖场）人。清代文学家、书画家。清代江西最杰出的诗人。有“诗佛”之誉。生于乾隆三十一年。吴居澳之子。少孤贫，有异才，以鬻文养母。15岁以文名于乡，为金溪杨頀所识，结为忘年交。乾隆四十九年（1784），高宗南巡时，吴嵩梁应召赴金陵应试，时年不到20岁，诗稿已有数百首。嘉庆五年（1800）举人，授国子监博士，旋改内阁中书。道光十年（1830）擢贵州黔西知州，时年已65岁，上任次年在黔西东山开元寺修建阳明书院，有惠政。因事得罪上司，转为长寨厅（今长顺县）同知。后曾两任乡试同考官。卒于道光十四年，年六十九岁。",[25,26,53,140,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d29388d21a67c891ec9f075281dcd8d.jpg",[38],{"id":853,"slug":854,"title":855,"dynasty":81,"author":856,"museum":179,"description":857,"tags":858,"thumbUrl":859,"material":142,"size":142,"collection":38,"collections":860,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},239803,"li-zhai-ji-ye-shi-feng-239803","砺斋记页","施凤","此作为行书小品，整体气息温雅端和，结体舒展匀稳，笔画圆秀灵动，牵丝映带间尽显书写时的从容意态。点画粗细错落，节奏舒缓平和，既可见赵孟頫书风的妍润遗意，又自具沉稳端方的气质。\n\n通篇笔墨与文中修身之旨相融，将砥砺修身的文心寄寓于笔墨之间，字字排布疏朗有致，通篇气韵连贯统一，尽显明代文人书法尚雅重韵的审美意趣，是兼具文情与书艺的佳构。",[86,25,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0609839033e8e32f4976a317bd7fe1.jpg",[38],{"id":862,"slug":863,"title":864,"dynasty":81,"author":865,"museum":179,"description":866,"tags":867,"thumbUrl":868,"material":142,"size":142,"collection":38,"collections":869,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":41},239594,"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[34,25,26,224,27,7,53,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[38],{"id":871,"slug":872,"title":873,"dynasty":81,"author":874,"museum":179,"description":875,"tags":876,"thumbUrl":879,"material":27,"size":142,"collection":38,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":41},241530,"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[25,26,166,304,53,877,86,878,7],"诗文","汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg",[38],4,{"id":883,"slug":884,"title":885,"dynasty":81,"author":886,"museum":179,"description":887,"tags":888,"thumbUrl":889,"material":292,"size":293,"collection":142,"collections":890,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":41},240668,"zhuan-shu-shi-zhou-wang-shu-240668","篆书诗轴","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[237,265,25,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d7ede05040a2db527e6dfb0d3fee88.jpg",[],{"id":892,"slug":893,"title":894,"dynasty":81,"author":300,"museum":179,"description":895,"tags":896,"thumbUrl":897,"material":27,"size":142,"collection":38,"collections":898,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":41},240204,"zhang-zhen-xian-qi-lv-shi-ye-yi-ming-240204","张振先七律诗页","此作为行书七律诗页，笔致灵动秀逸，行气连贯畅达。起收转合间利落自然，牵丝映带尽显书写时的悠然韵律，粗细提按富有层次变化，将明人行书尚态的特质融于笔墨之中。通篇疏密排布得当，气息冲淡平和，以书法线条晕染出诗作里山居春日的静雅况味，把乡野幽居的闲适心境依托笔墨流转传递而出，诗书相融，尽显文人雅趣，是一件意韵悠长的书法小品。",[86,34,25,26,53,27,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376044a439460565d2a209471703be3.jpg",[38],{"id":900,"slug":901,"title":902,"dynasty":65,"author":903,"museum":20,"description":904,"tags":905,"thumbUrl":906,"material":27,"size":907,"collection":142,"collections":908,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":41},221869,"zhi-dan-qiu-bo-shi-gong-chi-du-yu-ji-221869","致丹丘博士公尺牍","虞集","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。",[25,26,7,53,277,678,27,667,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":910,"slug":911,"title":912,"dynasty":233,"author":913,"museum":179,"description":914,"tags":915,"thumbUrl":916,"material":292,"size":293,"collection":142,"collections":917,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":60},241693,"wu-yan-shi-heng-pi-cao-hong-xun-241693","五言诗横披","曹鸿勋","曹鸿勋（1846年2月3日—1910年9月9日）清代官员。字仲铭，又字竹铭，号兰生，另号铭帛，室名益坚斋。山东莱州府潍县（今潍坊市潍城区）西南关新巷子人。",[85,25,557,7,480,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07347b464578b5e555324a8dc8d2321d.jpg",[],{"id":919,"slug":920,"title":921,"dynasty":233,"author":922,"museum":179,"description":923,"tags":924,"thumbUrl":925,"material":142,"size":142,"collection":38,"collections":926,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":41},239845,"zhi-gong-fu-zha-ye-li-fu-ping-239845","致功甫札页","李黼平","李黼平（1770年——1833年2月10日） ，字绣子，又字贞甫，号著花居士，广东嘉应州东街堡攀桂坊（今梅江区较场背旺巷口）人。自幼和兄弟李嗣章一同在东邨草堂读书，成绩优异，有“两陆”（陆机、陆云）、“二苏”（苏轼、苏辙）的美称。嘉庆十年(1805）乙丑科中进士（殿试金榜二甲第85名），选翰林院庶吉士。曾任江苏昭文县知县、东莞宝安书院山长等职，道光十二年（1832），在宝安逝世。《清史稿·儒林传》、《嘉应州志》、《清代学者像传》（叶恭绰编撰），都有他的专传。",[34,26,140,7,625,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152ee5d89fbe7f3e29a4ee0fcfceeccf.jpg",[38],{"id":928,"slug":929,"title":930,"dynasty":233,"author":931,"museum":179,"description":932,"tags":933,"thumbUrl":934,"material":292,"size":293,"collection":142,"collections":935,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":172},239756,"shu-hong-li-shu-yu-shu-shun-ji-chuan-ce-zhu-gui-239756","书弘历书虞书舜集传册","朱珪","朱珪（1731年～1807年），字石君，号南崖，晚号盘陀老人。与其兄朱筠，时称“二朱”。祖籍萧山蜀山街道越寨村，后迁黄阁河村。随父朱文炳由萧山侨居顺天大兴县（今北京市），遂入籍顺天府。\n乾隆十二年（1747年），17岁殿试为进士，选庶吉士，散馆授编修，侍读学士。乾隆二十四年（1759年），主河南乡试，会试同考官。秋，授福建粮道。乾隆二十八年（1763年），擢按察使，兼署布政使。乾隆三十二年（1767年），补湖北按察使。乾隆三十四年（1769年），任山西布政使。乾隆三十六年（1771年），权巡抚事。乾隆三十九年（1774年），为按察使，授侍讲学士。\n乾隆四十一年（1776年），命在上书房行走，教嘉庆帝读书。乾隆四十五年（1780年），督福建学政。乾隆四十九年（1784年），内阁学士。乾隆五十一年（1786年），礼部侍郎。乾隆五十九年（1794年）以后，历任两广总督，吏、兵、户部尚书，协办大学士，太子太保，太子太傅等职务。嘉庆四年由安徽巡抚上调北京。\n嘉庆十一年（1806年）十二月五日卒，终年77岁。帝谥“文正”。",[480,85,7,140,25,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1298c7cabb514e6f4b92ac5d20c33.jpg",[],{"id":937,"slug":938,"title":278,"dynasty":233,"author":939,"museum":179,"description":940,"tags":941,"thumbUrl":942,"material":142,"size":142,"collection":142,"collections":943,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":41},224199,"shou-zha-liang-tong-shu-224199","梁同书","此作用笔温润秀雅，全幅行书自然舒展，尽显帖学风神。点画顾盼映带，起收转合灵动婉转，毫无刻意雕琢之态。字势错落排布，行气连贯畅达，将日常尺牍的随性松弛与书法法度相融。\n\n通篇为寄友家常手札，笔墨随着心绪缓急自然生发，既有晋唐行书的飘逸意趣，亦不失端稳雅致，尽显深厚帖学功底。日常寒暄化作笔下行云流水，将文人散淡闲适的意趣藏在每一处笔墨细节里，让尺牍兼具实用功能与审美价值，冲淡平和的书卷气扑面而来。",[23,25,26,278,7,53,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b72188075f8d0148873ef608721123a.jpg",[],{"id":945,"slug":946,"title":947,"dynasty":151,"author":300,"museum":179,"description":948,"tags":949,"thumbUrl":950,"material":142,"size":142,"collection":142,"collections":951,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":41},223541,"fa-hua-jing-fang-bian-pin-4-yi-ming-223541","法华经方便品4","此品与寿量品，是《法华经》的两大中心，为本经正宗分。佛由三昧起，称叹诸佛智慧甚深无量，难解难入，佛说诸佛究竟了知诸法实相——“十如是”。为令声闻、缘觉二乘人断苦缚，得涅槃，佛以方便力，曾分说三乘之教，今日所说才是佛的真实教法。五千增上慢者退席，佛乃宣示唯一大事因缘，所谓开、示、悟、入佛之知见；一切众生皆当作佛，实无三乘。",[25,33,182,7,625,184,85,183,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ba9222638eca86f8cf3b608666679.jpg",[],{"id":953,"slug":954,"title":955,"dynasty":81,"author":956,"museum":20,"description":957,"tags":958,"thumbUrl":959,"material":27,"size":960,"collection":142,"collections":961,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":41},222461,"shu-ying-zhi-shi-zhou-shen-can-222461","书应制诗轴","沈粲","此幅内容是为友人书写，描述皇室宫苑，赞颂皇家园林之七言律诗五首，以用行楷书、章草及今草三体书之，其中行楷书精整，章草古朴，今草则笔法放纵。\n沈粲（西元一三七九－一四五三年），字民望，华亭（今上海）人。与年长二十二岁的胞兄沈度并称二沈，以擅于书法在朝廷中任职。沈粲擅长草书，学明初宋璲、宋克，参以钟繇，行笔圆熟，意趣遒逸。\n明成祖称沈度、沈粲昆仲是“我朝王羲之”大小学士”“二沈先生”。明代礼部尚书、书法家董其昌称“文（征明）、祝（允明）两家，一时之标，然欲突过'大小学士’、二沈先生’，未能也”。兄弟皆为大书法家且深得皇家赏识的实为少见。",[23,34,25,265,26,52,7,53,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a609dda0700e7459fb6f743501cddf4.jpg","263x54厘米",[],{"id":963,"slug":964,"title":965,"dynasty":81,"author":418,"museum":966,"description":967,"tags":968,"thumbUrl":969,"material":36,"size":970,"collection":142,"collections":971,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":972},222305,"nan-hua-zhen-jing-58-wang-chong-222305","南华真经58","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。",[23,25,26,27,7,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2882fcc7babc146b00d5b7f2a20983aa.jpg","每开尺寸长19.1、宽12.5厘米",[],"FDD835",{"id":974,"slug":975,"title":976,"dynasty":565,"author":300,"museum":179,"description":977,"tags":978,"thumbUrl":980,"material":292,"size":293,"collection":142,"collections":981,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":60},290676,"da-fang-guang-fu-hua-yan-jing-juan-di-si-shi-jiu-shou-gao-yi-ming-290676","大方广佛华严经卷第四十九手稿","卷面古旧泛黄，岁月晕染的褐渍斑驳铺陈，边角朱印依稀留存。通篇以工整小楷抄就，排布匀净舒朗，笔锋内敛沉实，起收皆合法度，点画清劲凝练，筋骨内含，虽历经漫长年月，圆融工稳的笔势依旧清晰可辨。\n\n整卷一气呵成，墨色苍润沉静，藏着抄经人书写时的极致恭谨，将禅意澄寂融于毫端，质朴虔诚的气息漫溢纸面，既是极具古韵的书法佳构，亦是饱含宗教温度的传世珍本。",[182,25,85,33,183,979,184,7,304],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb121d7c8cefbddd945be6e45e4670db5.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":81,"author":262,"museum":179,"description":986,"tags":987,"thumbUrl":988,"material":292,"size":293,"collection":142,"collections":989,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":990},288156,"mo-shu-wu-yan-shi-ye-dong-qi-chang-288156","墨书五言诗页","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,545,25,26,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda24081001114cda96f1f71f9661094f.jpg",[],"37474F",{"id":992,"slug":993,"title":994,"dynasty":18,"author":300,"museum":179,"description":995,"tags":996,"thumbUrl":997,"material":292,"size":293,"collection":142,"collections":998,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":60},241657,"wu-kuan-zhan-yi-zhi-gu-fu-feng-zeng-gao-ming-juan-yi-ming-241657","无款詹仪之故父封赠诰命卷","此作用笔朴拙苍劲，以行书为主，笔意连贯舒展，尽显宋代尚意书法风神。长卷墨色富于浓淡枯湿变化，时而浑厚沉实，时而枯涩飞白，古意盎然。\n\n章法排布随诰命文句自然铺陈，既保有官方文书的端整肃穆，又不失行书灵动写意的意趣。笔墨间尽显宋代士大夫的儒雅笔致，承载着诰命的庄重与书法的审美价值，在史料性与艺术性之间达成绝妙平衡，历经岁月经久弥香。",[23,28,33,25,85,26,27,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb83a71b3c5454f4959127ecf1680a2.jpg",[],{"id":1000,"slug":1001,"title":1002,"dynasty":233,"author":1003,"museum":179,"description":1004,"tags":1005,"thumbUrl":1007,"material":292,"size":293,"collection":142,"collections":1008,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":41},241374,"ti-san-xia-pin-quan-zhou-wang-ying-quan-241374","题三峡品泉轴","汪应铨","汪应铨，[清]字杜林，号梅林，江苏常熟人。康熙五十七年（一七一八）状元，官赞善。工小楷。《昭代尺牍小传、瓯钵罗室书画过目考》 清康熙五十七年（1718）状元。授职翰林院修撰，掌修国史。后来奉旨入值南书房。汪应铨本应进士馆研习，三年散馆后，方得升迁。然而汪应铨未及散馆，便被破格提为庶子。后几经升迁，官至左春坊赞善。将被升转，因锋芒太露，得罪权贵而遭弹劾。不久，谢职离京，返归故乡。",[25,26,480,53,165,698,667,7,1006,799],"宣纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907da3c53190b836de60edc25fbc226e.jpg",[],{"id":1010,"slug":1011,"title":1012,"dynasty":81,"author":1013,"museum":179,"description":1014,"tags":1015,"thumbUrl":1016,"material":292,"size":293,"collection":142,"collections":1017,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":172},241363,"ci-yan-shi-zhou-hu-shi-an-241363","赐晏诗轴","胡世安","胡世安(1593~1663) ，字处静，别号菊潭，四川资州井研县（今四川省乐山市井研县）人。明崇祯元年（1628）进士，曾任礼部尚书、武英殿大学士兼兵部尚书、太子太保、少傅兼太子太傅、秘书院大学士、少师兼太子太师。\n胡世安工诗文，著有《秀岩集》十一卷，凡诗二十二卷，文九卷，及《大易则通》、《禊帖综闻》、《异鱼图赞笺》、《异鱼图赞补》。",[86,25,265,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4d8de8bfe0a1b74fc91f2ca660684a.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":81,"author":1022,"museum":179,"description":1023,"tags":1024,"thumbUrl":1027,"material":292,"size":293,"collection":142,"collections":1028,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":41},241022,"he-jing-na-liang-shi-shan-mian-lu-guang-ming-241022","荷静纳凉诗扇面","陆广明","此作为泥金小楷扇面，笔墨隽秀雅致，结体端稳舒展，笔锋清劲内敛，墨色匀净沉静，与泥金地的华贵底色相融相衬，愈发显得清雅出尘。\n所书纳凉咏荷诗句，将幽居赏夏的闲淡襟怀藏于笔墨间，文辞意境与书法气韵浑然相合，尽显文人寄情林泉、从容自适的风雅意趣，是一件兼具笔墨审美与文人情思的精妙小品。",[86,545,34,25,26,7,27,1025,1026],"荷","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b1d9632d0f72edb0bcfb4a68bad167.jpg",[],{"id":1030,"slug":1031,"title":1032,"dynasty":81,"author":1033,"museum":179,"description":1034,"tags":1035,"thumbUrl":1036,"material":27,"size":142,"collection":38,"collections":1037,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":41},241017,"shi-han-zha-wen-peng-241017","诗翰扎","文彭","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。",[25,26,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556c922d18d51b884d221081d8c344f2.jpg",[38],{"id":1039,"slug":1040,"title":1041,"dynasty":81,"author":1042,"museum":179,"description":1043,"tags":1044,"thumbUrl":1045,"material":292,"size":293,"collection":142,"collections":1046,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":60},240862,"wu-lv-zhou-shen-shi-xing-240862","五律轴","申时行","申时行（1535年－1614年），字汝默，号瑶泉，晚号休休居士，南直隶苏州府长洲县（今属苏州）人 。明代大臣。嘉靖四十一年殿试第一名，获状元。历任翰林院修撰、礼部右侍郎、吏部右侍郎兼东阁大学士、首辅、太子太师、中极殿大学士。",[86,25,26,265,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dae1fc16696ee5c15f8c0f5fe8bb54.jpg",[],{"id":1048,"slug":1049,"title":777,"dynasty":233,"author":1050,"museum":179,"description":1051,"tags":1052,"thumbUrl":1053,"material":292,"size":293,"collection":38,"collections":1054,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":60},240734,"shu-zha-ce-zhang-bai-xi-240734","张百熙","张百熙（1847—1907年），字埜秋，一作冶秋，号潜斋，湖南长沙人。清末大臣，著名教育家。同治十三年（1874年）进士，授编修。光緖七年（1881年），督山东学政。十四年（1888年），典试四川。十五年，命直南书房。二十一年，迁侍读学士。二十三年，督广东学政，迁内阁学士。戊戌政变后，因荐举康有为获罪，革职留任。二十六年，任礼部侍郞，擢左都御史。后又历任工部、刑部、吏部、户部、邮传部尙书。并曾充管学大臣，主持京师大学堂，创医学及译学馆、实业馆，选派留学生出国深造。\n三十三年（1907年）卒，赠太子少保，谥文达。",[25,34,140,26,27,7,233,625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282f58591b0159d999ae574010910307.jpg",[38],{"id":1056,"slug":1057,"title":1058,"dynasty":81,"author":1059,"museum":179,"description":1060,"tags":1061,"thumbUrl":1063,"material":142,"size":142,"collection":142,"collections":1064,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":41},239898,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239898","明代名人，申时行等墨宝","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 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[25,26,27,7,33,53,667,1062],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9594d4cfaea898026ef3d0d36b31e18.jpg",[],{"id":1066,"slug":1067,"title":1068,"dynasty":151,"author":300,"museum":179,"description":1069,"tags":1070,"thumbUrl":1072,"material":292,"size":293,"collection":142,"collections":1073,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":60},227236,"miao-fa-lian-hua-jing-di-5-ti-po-da-duo-pin-di-shi-er-di-ba-yi-ming-227236","妙法莲华经第5提婆达多品第十二第八","唐代楷书经书",[23,303,182,25,85,183,7,27,184,1071],"经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbabf1e788d671694584d7d220244c5a.jpg",[],{"id":1075,"slug":1076,"title":1077,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1078,"thumbUrl":1079,"material":36,"size":970,"collection":142,"collections":1080,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":972},222294,"nan-hua-zhen-jing-47-wang-chong-222294","南华真经47",[23,25,26,182,34,7,140,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbaf68c5717fca5d91d771a11d40d95.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":18,"author":1085,"museum":20,"description":1086,"tags":1087,"thumbUrl":1088,"material":27,"size":1089,"collection":142,"collections":1090,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":41},221657,"zhi-yang-zheng-jian-miao-feng-yi-chi-du-fan-cheng-da-221657","致养正监庙奉议尺牍","范成大","昨辱惠字至慰。雪晴奇寒。以仆之瑟缩。遥知公之为况也。范子二轴。各为题数字纳去。幸为分付。属此寒冷。不得与渠少款曲。每念右史同年。为之凄断。王生所作隶古千文。可得一观否。方子文字挨排不行。只得以来年。今小大尚未回。得维垣亲扎。闲数日。阔匾来者又数处。殆成苦相。不可具言。成大顿首。养正监庙奉议贤友。",[23,28,25,26,277,34,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce03fab5049ee3a27238081e4d70bca.jpg","30.9x43.9厘米",[],{"id":1092,"slug":1093,"title":1094,"dynasty":565,"author":300,"museum":179,"description":1095,"tags":1096,"thumbUrl":1097,"material":292,"size":293,"collection":142,"collections":1098,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},290633,"wei-mo-jing-di-zi-pin-yi-ming-290633","维摩经弟子品","此卷淡墨书于泛黄古纸之上，笔触圆融朴拙，行笔舒展从容，字间排布匀净舒朗。纸面带着岁月浸蚀留下的残损痕迹，晕开厚重古雅的沧桑氛围感。\n\n通篇笔墨无刻意妍美雕琢，纯然是抄录经文时的静定流露，将虔诚的信仰融于笔端，字字晕染着沉静内敛的禅意，尽显书写时肃穆宁和的心境，兼具书法审美价值与厚重的人文宗教底蕴。",[25,34,33,182,184,979,85,183,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a047a1d7159d1c88c69a2edd6b062d.jpg",[],{"id":1100,"slug":1101,"title":1102,"dynasty":565,"author":300,"museum":179,"description":1103,"tags":1104,"thumbUrl":1110,"material":292,"size":293,"collection":142,"collections":1111,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},287320,"si-bu-lv-bing-lun-yao-yong-chao-juan-shang-shou-gao-yi-ming-287320","四部律幷論要用抄卷上手稿","此卷以小楷钞录，间带行书笔意，行笔秀逸舒展，结体端稳匀整，墨色沉静古雅，朱笔校注错落其间，留存钞写时的校雠痕迹。通篇排布茂密齐整，笔墨间尽显抄经者的恭谨心境，带着宗教书写特有的安和肃穆气息。\n\n它兼具书法审美与宗教文献价值，既展现出写经书法的质朴美感，也还原了中古佛典钞纂的真实样貌，承载着佛教律典传承的珍贵信息，尽显中古写本文化的厚重质感。",[182,25,33,1105,1106,7,85,1107,1108,1109],"手稿","佛教典籍","抄本","宗教书法","古文献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bc1e36c989f5d22fbaf943f88e2450.jpg",[],{"id":1113,"slug":1114,"title":1115,"dynasty":233,"author":1116,"museum":179,"description":1117,"tags":1118,"thumbUrl":1119,"material":292,"size":293,"collection":142,"collections":1120,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},241682,"qian-long-yu-zhi-wu-fu-song-ce-yong-yan-241682","乾隆御制五福颂册","颙琰","清仁宗爱新觉罗·颙琰（1760年11月13日—1820年9月2日），原名永琰，清朝第七位皇帝，定都北京后的第五位皇帝，乾隆帝的第十五子，生母孝仪纯皇后魏佳氏。在位二十五年（1796-1820年在位），年号“嘉庆”。",[480,25,85,53,140,7,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5ffd80da4547680a0de18c3ef24658.jpg",[],{"id":1122,"slug":1123,"title":1124,"dynasty":233,"author":1125,"museum":179,"description":1126,"tags":1127,"thumbUrl":1128,"material":292,"size":293,"collection":142,"collections":1129,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},240557,"lu-yu-zhou-cai-zhi-ding-240557","录语轴","蔡之定","蔡之定（1745年－1830年），字麟昭，号生甫，晚号积谷山人，浙江德清人。\n乾隆十年十二月十二日生。乾隆五十八年（1793年）中进士，选庶吉士，嘉庆元年（1796年）散馆授编修，历任高宗实录馆总篡，升国子监司业、侍讲学士。嘉庆十九年（1814年），因建议以纸币代银，以“妄言乱政”降鸿胪寺少卿。晚年，主讲钟山、蕺山两书院。\n蔡之定擅书法，时与翁方纲、刘墉、铁保号称“四大书家”。道光十四年（1834年）九月初八卒。",[480,25,265,26,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb18ad7cff5cc3189618e102c36c63e.jpg",[],{"id":1131,"slug":1132,"title":1133,"dynasty":233,"author":1134,"museum":179,"description":1135,"tags":1136,"thumbUrl":1138,"material":292,"size":293,"collection":142,"collections":1139,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},240276,"xing-kai-shi-zhou-wang-shan-240276","行楷诗轴","王掞","王掞shàn（1645年～1728年）清朝官员。字藻儒，一作藻如，号颛庵、西田主人，江南太仓（今属江苏）人，明代首辅王锡爵曾孙。康熙九年进士，授编修，官至文渊阁大学士。康熙六十年，请重立胤礽为太子忤旨，应谪戍，以年老由子代行，寻致仕。有《西田集》。",[25,1137,265,7,53],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62c3bfd095f2514846e037660995a3b.jpg",[],{"id":1141,"slug":1142,"title":1143,"dynasty":81,"author":1144,"museum":179,"description":1145,"tags":1146,"thumbUrl":1147,"material":292,"size":293,"collection":142,"collections":1148,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},240130,"xing-zhi-rui-weng-li-yan-ye-liu-zheng-xue-240130","行致瑞翁俚言页","刘正学","刘正学，字止一，号岱云，明末清初政治人物。\n明天启元年八月十日生，刘季木长子。崇祯十七年二月民末义军攻城，其参与抵御。四年福王监国金陵，改元弘光，其携家难度，至淮阳，藩镇刘泽清欲留用，没有答应。抵金，宁南侯左良玉招募，亦不就任。清顺治元年十月以儒生授守备，二年五月清军攻破金陵后，他寄籍广州、定州，七月授南游击，三年十月破清军于信宜，升参将，五年正月升南韶副总兵官，大寇李兴掠南阳，其率军攻破，八月被信丰败将杜永和扣押于舟中，随后释放。十四年三月转济南浮标中营游击，授昭武将军，十七年二月归。康熙十一年二月，他在儒林庄建支祠，十月监修县志，十四年六月修族谱，十七年正月南游江、浙及冬而还，卅三年十二月初十日卒。",[25,26,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e23840eeab2c17816726b2433b42710.jpg",[],{"id":1150,"slug":1151,"title":1152,"dynasty":565,"author":300,"museum":179,"description":1153,"tags":1154,"thumbUrl":1157,"material":292,"size":293,"collection":142,"collections":1158,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},231702,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-xia-yi-ming-231702","江户时期 乡村故事绘卷(下)","通篇以假名草书书就，线条柔婉舒展如流云曳空，行笔间牵丝映带自然圆融，将假名的灵动雅致尽数铺展。墨色温润匀净，晕染在泛黄古纸之上，晕开沉静的岁月古韵。\n\n章法排布疏密相宜，字与字、行与行错落间带着呼吸感，藏着书写时的随性松弛，尽显和风书法的清雅意趣，将日常笔墨晕开悠悠旧韵，暗合旧时文人心底的幽情雅致。",[25,52,33,1155,1156,7],"假名书法","和风书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a21f3d063f3b6ec8ab97cbe8af03e7.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":565,"author":300,"museum":179,"description":1163,"tags":1164,"thumbUrl":1165,"material":292,"size":293,"collection":142,"collections":1166,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},230828,"shi-song-lv-juan-di-si-shi-liu-cun-zi-xia-bu-yi-ming-230828","十誦律卷第四十六存字下部","此作为典型写经小楷，整体气息端雅静穆，结体方正匀停，点画饱满凝练，起转收合皆恪守法度，捺脚微微舒展，带着朴拙雅致的意趣。通篇行气贯通，字距行距排布齐整森严，墨色匀净沉厚，不见枯涩飞白。\n虽为经文抄录，却无丝毫怠惰潦草，尽显抄经时恭谨肃穆的心境，融北朝写经的古拙厚重与初唐楷书的妍秀灵动于一体，在工整谨严的书写中，藏着舒展柔和的韵致，将实用抄写与书法美感精妙融合，尽显佛教抄经特有的静谧庄严的气韵。",[25,182,85,183,33,27,7,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f84b701f3dc76286120e8bf43f8b79.jpg",[],{"id":1168,"slug":1169,"title":1170,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1171,"thumbUrl":1172,"material":36,"size":970,"collection":142,"collections":1173,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222301,"nan-hua-zhen-jing-54-wang-chong-222301","南华真经54",[23,34,25,26,183,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a7d76f0f4e4b040752af7cf3435674a.jpg",[],{"id":1175,"slug":1176,"title":1177,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1178,"thumbUrl":1179,"material":36,"size":970,"collection":142,"collections":1180,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222300,"nan-hua-zhen-jing-53-wang-chong-222300","南华真经53",[23,25,26,182,27,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f47e3efbaaf8f077d26dacee9db8f59.jpg",[],{"id":1182,"slug":1183,"title":1184,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1185,"thumbUrl":1186,"material":36,"size":970,"collection":142,"collections":1187,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222296,"nan-hua-zhen-jing-49-wang-chong-222296","南华真经49",[23,25,182,85,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d85f305a73e1da481ed3cd0ad94fa50.jpg",[],{"id":1189,"slug":1190,"title":1191,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1192,"thumbUrl":1196,"material":36,"size":970,"collection":142,"collections":1197,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222283,"nan-hua-zhen-jing-36-wang-chong-222283","南华真经36",[23,25,85,182,207,140,183,7,1193,1194,1195],"竖排","传统书法","小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4200403c6023572f5ee3257daabf1f2.jpg",[],{"id":1199,"slug":1200,"title":1201,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1202,"thumbUrl":1203,"material":36,"size":970,"collection":142,"collections":1204,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222278,"nan-hua-zhen-jing-31-wang-chong-222278","南华真经31",[23,25,26,182,140,27,7,588,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff13fcc34deb6f67f088371a4516f69dc.jpg",[],{"id":1206,"slug":1207,"title":1208,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1209,"thumbUrl":1210,"material":36,"size":970,"collection":142,"collections":1211,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":972},222276,"nan-hua-zhen-jing-29-wang-chong-222276","南华真经29",[23,25,182,86,85,27,7,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09957383df622ba012bae2a1eb62bd8.jpg",[],{"id":1213,"slug":1214,"title":1215,"dynasty":65,"author":300,"museum":20,"description":1216,"tags":1217,"thumbUrl":1224,"material":1225,"size":1226,"collection":142,"collections":1227,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},214784,"zhi-sheng-xian-xian-ban-shen-xiang-24-yi-ming-214784","至圣先贤半身像-24","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,51,34,140,625,634,208,1218,1219,1220,1221,1222,1223,7],"古装","男性","半身像","长袍","发髻","胡须","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be6196f90fe4bb59903f00c348c68e.jpg","纸本,设色","33.3x24.3",[],{"id":1229,"slug":1230,"title":1231,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1233,"thumbUrl":1234,"material":292,"size":293,"collection":142,"collections":1235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},289715,"dun-huang-yi-shu-351-yi-ming-289715","敦煌遗书351","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。",[33,25,182,642,184,183,85,27,7,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719067317f51db94b3c2f14593b4c24e.jpg",[],{"id":1237,"slug":1238,"title":1239,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1240,"thumbUrl":1241,"material":292,"size":293,"collection":142,"collections":1242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},289692,"dun-huang-yi-shu-328-yi-ming-289692","敦煌遗书328",[642,33,25,182,184,27,7,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824e264cab82fd819583347228cc8b6.jpg",[],{"id":1244,"slug":1245,"title":1246,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1247,"thumbUrl":1248,"material":292,"size":293,"collection":142,"collections":1249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},289686,"dun-huang-yi-shu-322-yi-ming-289686","敦煌遗书322",[642,182,25,33,979,183,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f80c4bebd82b0241a96f0fcec4fe11.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1254,"thumbUrl":1256,"material":292,"size":293,"collection":142,"collections":1257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},289683,"dun-huang-yi-shu-319-yi-ming-289683","敦煌遗书319",[642,182,25,184,183,7,85,1255],"文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2c667724fef891edddc9c73b31460d.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1262,"thumbUrl":1263,"material":292,"size":293,"collection":142,"collections":1264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},288466,"dun-huang-yi-shu-188-yi-ming-288466","敦煌遗书188",[642,33,25,182,85,183,1071,979,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d8af33f1399cc07165d1915bcaa414.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1269,"thumbUrl":1270,"material":292,"size":293,"collection":142,"collections":1271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},287801,"dun-huang-yi-shu-164-yi-ming-287801","敦煌遗书164",[25,182,33,642,183,85,184,645,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a16fd1f287153c442eae5b753b3e46.jpg",[],{"id":1273,"slug":1274,"title":1275,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1276,"thumbUrl":1278,"material":292,"size":293,"collection":142,"collections":1279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},287496,"dun-huang-yi-shu-139-yi-ming-287496","敦煌遗书139",[642,25,182,52,33,183,7,1277],"朱批","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796091cbf6eb80885c3f4e508e3a5846.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":565,"author":300,"museum":179,"description":1232,"tags":1284,"thumbUrl":1285,"material":292,"size":293,"collection":142,"collections":1286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},287473,"dun-huang-yi-shu-116-yi-ming-287473","敦煌遗书116",[642,33,25,182,183,1277,7,184,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb531f19644a04dec24fe0bee630860fb.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":233,"author":778,"museum":179,"description":779,"tags":1291,"thumbUrl":1304,"material":292,"size":293,"collection":142,"collections":1305,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},241635,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241635","致老夫子大人札",[25,26,400,1292,278,480,667,1293,437,1193,1294,304,7,1295,1296,1297,1298,709,1299,1300,1301,1302,1303],"墨","书信","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":1307,"slug":1308,"title":1309,"dynasty":233,"author":1310,"museum":179,"description":1311,"tags":1312,"thumbUrl":1313,"material":292,"size":293,"collection":142,"collections":1314,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":172},241484,"shou-zha-ce-cheng-si-ze-241484","手札册","程思泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[34,25,26,140,278,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f08fedc167a36c14ae7b786692f02fd.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":233,"author":1319,"museum":179,"description":1320,"tags":1321,"thumbUrl":1322,"material":292,"size":293,"collection":142,"collections":1323,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},241287,"qi-jue-er-shou-ye-ting-ying-241287","七絶二首","叶廷瑛","此作为行书诗翰，点画灵动温润，起收转折皆存帖学雅韵。行气疏朗连贯，章法排布错落匀停，既保有台阁书风的端稳之态，又不失文人行书的萧散意趣。墨色浓淡自然过渡，笔势间尽显从容雅逸，字里行间晕染出士人酬唱的清雅襟怀，将传统文人的书卷气融于笔墨之间，是清代文人尺牍书法中的清秀佳例。",[34,25,26,53,140,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7506bd37e0cf76a1cd68f9765f28fde6.jpg",[],{"id":1325,"slug":1326,"title":1327,"dynasty":81,"author":300,"museum":179,"description":1328,"tags":1329,"thumbUrl":1330,"material":292,"size":293,"collection":142,"collections":1331,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},241114,"you-shi-ren-qi-yan-shi-shan-mian-yi-ming-241114","游士任七言诗扇面","此幅行书扇面笔意纵逸灵动，提转间牵丝映带，章法自洽。字势错落欹正，尽显尚态风貌。笔墨枯润浓淡得宜，通篇行气贯通，将诗文意境与书法意韵相融。虽无款署，却可见书家深厚帖学功底，既有晋人尺牍的隽秀风神，又不失疏放意气，扇面形制更将笔墨的舒展雅致烘托尽致，尽显文人士子的翰墨雅趣，是一件颇具格调的书法佳构。",[51,34,545,25,26,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac86d5136e1b8387c077e183d4445f5.jpg",[],{"id":1333,"slug":1334,"title":1335,"dynasty":81,"author":1336,"museum":179,"description":1337,"tags":1338,"thumbUrl":1339,"material":292,"size":293,"collection":142,"collections":1340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240973,"qi-lv-shan-mian-lin-zeng-zhi-240973","七律扇面","林增志","林增志(1593—1667)，字任先，一字可任，俱吉州安福人（今吉安安福人）。明崇祯元年(1628)中进士，寄籍浙江，《碑录》”浙江瑞安“。任蒲圻（今属湖北省）令，政尚廉静，每月讲学明伦堂，士风丕变，考绩异等，擢翰林编修，和黄道周、倪元璐友善。万年避难于泰顺县，墓道遗址有待考究。",[81,545,26,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2a60b853652b65df58ca5b26db8143.jpg",[],{"id":1342,"slug":1343,"title":777,"dynasty":233,"author":1344,"museum":179,"description":1345,"tags":1346,"thumbUrl":1347,"material":292,"size":293,"collection":142,"collections":1348,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240766,"shu-zha-ce-li-hong-zao-240766","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。",[25,26,140,363,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c1c808937067a380de9739e32387d9.jpg",[],{"id":1350,"slug":1351,"title":777,"dynasty":233,"author":1344,"museum":179,"description":1345,"tags":1352,"thumbUrl":1353,"material":292,"size":293,"collection":142,"collections":1354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":990},240758,"shu-zha-ce-li-hong-zao-240758",[25,34,140,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b31d0794eb590eb42324fbc927815.jpg",[],{"id":1356,"slug":1357,"title":777,"dynasty":233,"author":1050,"museum":179,"description":1051,"tags":1358,"thumbUrl":1359,"material":292,"size":293,"collection":142,"collections":1360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":990},240749,"shu-zha-ce-zhang-bai-xi-240749",[25,26,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e6671c7f804f212afa6af06f629a7f.jpg",[],{"id":1362,"slug":1363,"title":777,"dynasty":233,"author":1050,"museum":179,"description":1051,"tags":1364,"thumbUrl":1367,"material":292,"size":293,"collection":142,"collections":1368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":990},240744,"shu-zha-ce-zhang-bai-xi-240744",[480,34,140,26,25,278,7,27,1365,1366,709,1293,437,1193],"竖栏","红格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995f989fa161980f46def34da61387a0.jpg",[],{"id":1370,"slug":1371,"title":777,"dynasty":233,"author":1050,"museum":179,"description":1051,"tags":1372,"thumbUrl":1373,"material":292,"size":293,"collection":142,"collections":1374,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":990},240737,"shu-zha-ce-zhang-bai-xi-240737",[25,26,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872a8d12f65b4f0c5e08b96d5326e7ea.jpg",[],{"id":1376,"slug":1377,"title":1378,"dynasty":233,"author":1379,"museum":179,"description":1380,"tags":1381,"thumbUrl":1382,"material":292,"size":293,"collection":142,"collections":1383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240550,"lu-shan-ji-han-zha-juan-sun-qi-feng-240550","鹿善继翰札卷","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》。",[23,33,25,26,52,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ee6633658141802a065f373a31e62.jpg",[],{"id":1385,"slug":1386,"title":1387,"dynasty":233,"author":1388,"museum":179,"description":1389,"tags":1390,"thumbUrl":1391,"material":292,"size":293,"collection":142,"collections":1392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240512,"shi-zhou-meng-lu-ling-240512","诗轴","孟庐陵","孟庐陵（生卒年不详），清河南府洛阳人，因居住地地势较低，人称其家为“孟坑”。孟庐陵与其弟习苏（字眉山）俱为监生。父早丧，事母至孝。",[25,26,265,480,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27d4a6c3791a55f48392689091c4e1bc.jpg",[],{"id":1394,"slug":1395,"title":1396,"dynasty":81,"author":1397,"museum":179,"description":1398,"tags":1399,"thumbUrl":1400,"material":292,"size":293,"collection":142,"collections":1401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240342,"he-huan-lian-shi-ye-jin-jian-gao-240342","合欢莲诗页","金渐皋","金渐皋. 字梦蜚，浙江仁和人。顺治壬辰进士，官汉阳知县。著有《怡安堂集》。○怡安胜任剧邑，大吏方以才能荐，而翩然乞身，其风高矣。",[86,34,26,53,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bcac93b732b49dd7e12207e8977050.jpg",[],{"id":1403,"slug":1404,"title":1405,"dynasty":81,"author":1406,"museum":179,"description":1407,"tags":1408,"thumbUrl":1409,"material":292,"size":293,"collection":142,"collections":1410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},240340,"yong-lang-zhao-tang-jia-lian-fu-sheng-shi-bing-xu-ye-liu-zhen-240340","咏朗照堂嘉莲祔生诗并序页","刘振","泛黄纸页晕开岁月痕迹，左侧竖幅题签墨色沉凝，笔意端稳朴拙。右侧诗帖行书错落排布，随性舒展间带着疏朗文人意趣，字间疏密自在流转，藏着咏莲寄怀的清雅心绪。\n\n纸面斑驳霉痕是时光注脚，整体书卷气浓厚，尽显文人耽于雅事、寄情笔墨的闲散雅致，将诗意心绪藏进笔墨开合疏密之中，旧纸带着沉静质感，将几百年前的清雅文思，封存在这一方册页之内。",[34,25,26,140,7,400,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c043f88515e0b9423e5facce328832.jpg",[],{"id":1412,"slug":1413,"title":1414,"dynasty":233,"author":1415,"museum":179,"description":1416,"tags":1417,"thumbUrl":1418,"material":292,"size":293,"collection":142,"collections":1419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},239750,"yong-qi-shu-fu-zhou-yong-qi-239750","永璂书赋轴","永璂","爱新觉罗·永璂（qí）（1752年6月7日－1776年3月17日）清朝宗室大臣，清高宗乾隆帝第十二子，母为皇后那拉氏。乾隆三十六年，负责编纂《御制满蒙文鉴》总纲。",[85,25,265,7,1295,698,1194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254992b4e872c88b03581870215d0628.jpg",[],{"id":1421,"slug":1422,"title":1423,"dynasty":81,"author":1424,"museum":20,"description":1425,"tags":1426,"thumbUrl":1429,"material":36,"size":1430,"collection":142,"collections":1431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},222325,"zhi-qing-shi-zun-zhang-chi-du-zhang-xian-yi-222325","致磬石尊丈尺牍","张献翼","张献翼，[明]（1534-1604）字幼于，后更名敉，长洲人。张凤翼之弟。嘉靖中国子监生。为人放荡不羁，言行诡异，与兄凤翼、燕翼并有才名，时称“三张。”精于易，其说《易》诸作，皆平正通达，笃实不支，为人所称。",[25,26,7,53,304,277,1427,1428],"界格","装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1029aaebc98637d9cfccd05aed34a.jpg","27.4×35.6",[],{"id":1433,"slug":1434,"title":1435,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1436,"thumbUrl":1437,"material":36,"size":970,"collection":142,"collections":1438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222272,"nan-hua-zhen-jing-25-wang-chong-222272","南华真经25",[23,25,85,1195,182,27,7,224,645,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc660ee1de7a95d07d8bfecb910e955e.jpg",[],{"id":1440,"slug":1441,"title":1442,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1443,"thumbUrl":1444,"material":36,"size":970,"collection":142,"collections":1445,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222270,"nan-hua-zhen-jing-23-wang-chong-222270","南华真经23",[23,25,34,182,85,207,183,1195,7,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5546c2e2dad25be14075f1957dff60a.jpg",[],{"id":1447,"slug":1448,"title":1449,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1450,"thumbUrl":1451,"material":36,"size":970,"collection":142,"collections":1452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222269,"nan-hua-zhen-jing-22-wang-chong-222269","南华真经22",[23,34,25,182,1195,207,27,86,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adbb791f1aaa88357eb2b1fa9f84775.jpg",[],{"id":1454,"slug":1455,"title":1456,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1457,"thumbUrl":1458,"material":36,"size":970,"collection":142,"collections":1459,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222260,"nan-hua-zhen-jing-13-wang-chong-222260","南华真经13",[23,25,182,1195,7,27,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6cd4e3593e859411c254cef41ca408c.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1464,"thumbUrl":1465,"material":36,"size":970,"collection":142,"collections":1466,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222258,"nan-hua-zhen-jing-11-wang-chong-222258","南华真经11",[23,25,26,182,34,51,207,7,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412cf683d87c4f14c4636b763d87acff.jpg",[],{"id":1468,"slug":1469,"title":1470,"dynasty":81,"author":418,"museum":966,"description":967,"tags":1471,"thumbUrl":1472,"material":36,"size":970,"collection":142,"collections":1473,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":972},222252,"nan-hua-zhen-jing-5-wang-chong-222252","南华真经5",[23,25,34,1195,182,27,7,86,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520795ff9f360427dc8c74e7c4e09d26.jpg",[],{"id":1475,"slug":1476,"title":1477,"dynasty":233,"author":1478,"museum":1479,"description":1480,"tags":1481,"thumbUrl":1482,"material":207,"size":142,"collection":142,"collections":1483,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},215631,"yu-zhi-geng-zhi-tu-23-kang-xi-215631","御制耕织图-23","康熙","哈佛艺术博物馆","这幅作品以图文交织的形式，承载着对农桑之本的深切关注。笔墨间既有帝王御笔的端庄气度，又流淌着对民生衣食的拳拳之心。耕织场景的写实勾勒，与题跋中对农桑重要性的阐释相映成趣，将重农固本的治国理念具象为可视可感的画面与文字。它不仅是艺术创作，更是清代前期推动农桑生产、传播耕织知识的官方载体，凝聚着统治者对天下衣食丰足的期许，也彰显了传统社会以农为本的文化内核。",[23,480,34,26,840,53,140,7,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F293c92ed9711fc065ade6fd1f1934e3a.jpg",[],1777535702826]