[{"data":1,"prerenderedAt":114},["ShallowReactive",2],{"subject-mo-tuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3471,"mo-tuo","墨拓","墨拓画高清赏析","精选中国历代墨拓题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573623cb858e8a1fed32ec1e7964493a.jpg",0,6,[14,34,52,69,85,99],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},227052,"da-guan-tie-wang-xi-zhi-227052","大观帖","晋","王羲之","藏地不详","王羲之（303年—361年） [1] ，字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,24,25,26,27,28,7],"书法","拓本","行书","册","字帖","碑帖","","碑帖精选",[30],23,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":39,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":29,"size":29,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},239165,"ti-mo-tuo-dong-po-xiang-yuan-shan-duan-fang-239165","题墨拓东坡像圆扇","清","端方","以墨拓技法复刻东坡肖像，圆扇形制雅致内敛。乌帽峨然覆顶，长髯垂胸如瀑，衣纹用刀洗练简约，勾勒出苏轼沉凝肃穆的神态，将文豪儒雅端方的风骨尽显无遗，朴厚的墨色晕染出沉静的氛围感。旁侧题识笔墨瘦劲清逸，朱印点缀提亮，与拓像相映成趣，让金石朴拙与文人情思融于尺幅之间，将东坡居士的文人雅韵定格在这一方圆面之中，尽显传拓小品的隽永意趣。",[42,43,44,7,45,46,23],"国画","书画","扇面","人物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3db22c3f3aa70bd86d4d9d32272d42.jpg","人物画精选",[48],10,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":20,"description":58,"tags":59,"thumbUrl":67,"material":29,"size":29,"collection":29,"collections":68,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":51},227557,"da-song-xin-yi-san-zang-sheng-jiao-xu-yi-ming-227557","大宋新译三藏圣教序","宋","佚名","《大唐三藏圣教序》，简称《圣教序》，由唐太宗撰写。最早由唐初四大书法家之一的褚遂良所书，称为《雁塔圣教序》，后由沙门怀仁从王羲之书法中集字，刻制成碑文，称《唐集右军圣教序并记》，或《怀仁集王羲之书圣教序》，因碑首横刻有七尊佛像，又名《七佛圣教序》。集王圣教序碑刻立于唐咸亨三年（六七二），碑通高三五零、宽一零八、厚二十八厘米。碑文三十行，行八十三至八十八字不等。",[60,24,23,61,62,63,64,65,66,7],"宋代","楷书","宗教","碑刻","文字","古籍","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bafcbb9729e753831f17514aa7625.jpg",[],{"id":70,"slug":71,"title":72,"dynasty":56,"author":73,"museum":74,"description":75,"tags":76,"thumbUrl":80,"material":81,"size":82,"collection":29,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":29},220624,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220624","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[77,60,24,23,25,27,7,78,79],"高清","刻帖","汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8202ff700285245662217b46bb02547d.jpg","墨拓,纸本,册页","34 × 36 cm",[],1,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":96,"material":24,"size":97,"collection":29,"collections":98,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":51},220184,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-28-liu-gong-quan-220184","神策军碑-皇帝巡幸左神策军纪圣德碑28","唐","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[94,23,24,61,63,95,64,66,7,28],"唐代","碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dbab2b28016435c459322ef49089cb.jpg","58X46",[],{"id":100,"slug":101,"title":102,"dynasty":103,"author":57,"museum":20,"description":104,"tags":105,"thumbUrl":109,"material":110,"size":111,"collection":29,"collections":112,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},242583,"dong-shu-tang-tie-yi-ming-242583","东书堂帖","明","此帖黑底银钩，刻摹精工细致，将王献之小楷的秀雅风神尽致留存。笔画舒展灵动，结体疏朗宕逸，转折间锋芒暗蕴，虽为刻本却不减笔墨流动之趣，尽显晋人尚韵的清雅气质。古纸斑驳间墨色沉凝，带着岁月晕染的厚重质感，既有刻帖自带的金石意趣，又完美传递出王献之书法里秀媚超举的笔意，将大令不为多见的端严小楷风貌留存，尽显帖学传承的古韵悠长。",[106,23,24,46,61,107,7,78,108],"明代","法书","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5df89b124742ec5536c793cc14eb2f2.jpg","未知","Xcm*Xcm",[],"37474F",1777535747449]