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袂褶皱随坐姿舒展，线条如微风拂过般流畅。案上木盒静立，瓷杯映着微光，散落的工具似留着指尖余温。无浓墨重彩，却将市井手工艺人的日常定格得细腻动人。素纸之上，每道线条都牵着旧时光的烟火暖意，街头买卖的鲜活气息在极简笔墨里缓缓流淌，藏着对生活本真的温柔描摹，让平凡的手艺场景，在白描清韵中成为时光里的一抹温情印记。",[23,213,109,30,148,76,7,39,77,214],"白描","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3896dc480a68a226c767c74139ac5e66.jpg","纸本",[82],95,{"id":220,"slug":221,"title":222,"dynasty":141,"author":223,"museum":52,"description":224,"tags":225,"thumbUrl":226,"material":227,"size":228,"collection":59,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":45},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[23,28,55,146,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","纸本,水墨","166.1x41.3",[59],86,{"id":232,"slug":233,"title":234,"dynasty":18,"author":235,"museum":52,"description":236,"tags":237,"thumbUrl":243,"material":244,"size":245,"collection":59,"collections":246,"showCount":247,"zanCount":85,"manualWeight":11,"mainColor":45},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,28,55,7,39,29,197,238,239,240,241,242],"溪","垂杨","花","日","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","绢","98.6x55.3cm",[59],71,{"id":249,"slug":250,"title":251,"dynasty":141,"author":252,"museum":253,"description":254,"tags":255,"thumbUrl":256,"material":257,"size":258,"collection":41,"collections":259,"showCount":260,"zanCount":85,"manualWeight":11,"mainColor":64},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","仇英","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,107,108,27,213,25,30,31,38,76,7,39,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],65,{"id":262,"slug":263,"title":264,"dynasty":69,"author":265,"museum":143,"description":266,"tags":267,"thumbUrl":270,"material":271,"size":41,"collection":82,"collections":272,"showCount":260,"zanCount":85,"manualWeight":11,"mainColor":64},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[107,108,25,26,30,196,198,180,148,268,269,77,7],"松树","仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg","纸本,设色",[82],{"id":274,"slug":275,"title":276,"dynasty":277,"author":278,"museum":160,"description":279,"tags":280,"thumbUrl":282,"material":216,"size":283,"collection":59,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":64},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","元","赵孟頫","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[23,27,28,55,281,29,7,39],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[59],59,{"id":287,"slug":288,"title":289,"dynasty":141,"author":290,"museum":143,"description":291,"tags":292,"thumbUrl":295,"material":227,"size":296,"collection":82,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":64},219405,"tie-di-tu-wu-wei-219405","铁笛图","吴伟","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[107,108,213,30,268,293,76,7,39,77,294,33,29],"石","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[82],56,{"id":300,"slug":301,"title":302,"dynasty":69,"author":303,"museum":71,"description":304,"tags":305,"thumbUrl":306,"material":151,"size":307,"collection":82,"collections":308,"showCount":309,"zanCount":85,"manualWeight":11,"mainColor":45},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,107,25,26,30,75,76,7,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[82],53,{"id":311,"slug":312,"title":313,"dynasty":69,"author":314,"museum":20,"description":315,"tags":316,"thumbUrl":318,"material":41,"size":41,"collection":82,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":64},237689,"diao-ying-shi-nv-tu-zhou-xu-lan-237689","调鹦仕女图轴","徐兰","徐兰 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此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,130,107,108,27,55,28,29,281,149,39,7,76,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[59],{"id":628,"slug":629,"title":630,"dynasty":69,"author":631,"museum":20,"description":632,"tags":633,"thumbUrl":635,"material":353,"size":354,"collection":41,"collections":636,"showCount":637,"zanCount":11,"manualWeight":11,"mainColor":64},224288,"qian-zi-wen-fu-shan-224288","千字文","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,28,634,27,108,7,29,149,281],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],10,{"id":639,"slug":640,"title":641,"dynasty":69,"author":631,"museum":20,"description":632,"tags":642,"thumbUrl":643,"material":353,"size":354,"collection":41,"collections":644,"showCount":645,"zanCount":11,"manualWeight":11,"mainColor":64},224287,"lin-ge-tie-fu-shan-224287","临阁帖",[23,28,634,24,146,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],9,{"id":647,"slug":648,"title":649,"dynasty":141,"author":142,"museum":143,"description":650,"tags":651,"thumbUrl":652,"material":41,"size":41,"collection":82,"collections":653,"showCount":645,"zanCount":85,"manualWeight":11,"mainColor":654},201682,"xi-yuan-tu-juan-chen-hong-shou-201682","西园图卷","这幅画作铺展西园雅集盛景，构图疏密相宜，人物造型古雅奇崛。线条刚柔并济，勾勒出诸贤挥毫题诗、抚琴赏画、品茗对谈的风雅神态，衣袂流转间尽显文人逸趣。设色淡雅温润，山石花木与人物活动相映成趣，营造出清旷悠然的氛围。陈洪绶以独特笔墨，将才情与闲逸融入画面，细节处见匠心，尽显传统文人画的韵致与深度。",[107,27,30,25,55,29,7,39,76,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207bd5d65d801af7bc7f17b3b58e23e2.jpg",[82],"d6bd94",{"id":656,"slug":657,"title":658,"dynasty":69,"author":659,"museum":20,"description":660,"tags":661,"thumbUrl":662,"material":663,"size":41,"collection":59,"collections":664,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":64},240177,"wu-yan-lian-chen-peng-nian-240177","五言联","陈鹏年","陈鹏年（1663年～1723年）字北溟，又字沧州，康熙二十三年（1684）举人，三十年进士。历官浙江西安知县、江南山阳知县、江宁知府、苏州知府、有《道荣堂文集》、《喝月词》、《历仕政略》、《河工条约》等。\n陈鹏年死后，清廷下诏厚葬。其墓气势肃穆，规模宏大，东西长50米，南北宽15米，自东向西，成对排列着 立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 据传，东雾山西麓所建东岑禅院及山顶的石泉精舍，都是陈鹏年少时读书的地方。墓之东西有石龙山、彭何观等景观。石龙山系宋末文人李半村隐居之地。过去有石龙寺，后改名慈航庵。西有洞口水库等景观。南有青翠峰、清总兵陈必友故居位于此处。",[28,392,146,55,29,7,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79145631ef2fecdb874957b66efd5f.jpg","立轴纸本",[59],8,{"id":667,"slug":668,"title":669,"dynasty":141,"author":670,"museum":71,"description":671,"tags":672,"thumbUrl":673,"material":216,"size":674,"collection":59,"collections":675,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":64},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,130,107,108,27,28,55,634,216,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[59],{"id":677,"slug":678,"title":679,"dynasty":69,"author":680,"museum":20,"description":681,"tags":682,"thumbUrl":683,"material":353,"size":354,"collection":41,"collections":684,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":64},235544,"xi-xiang-tu-ce-ye-bu-235544","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[107,108,109,26,25,30,55,29,76,7,39,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc2e370d6908deec52c91be4f952cd.jpg",[],{"id":686,"slug":687,"title":688,"dynasty":69,"author":191,"museum":20,"description":345,"tags":689,"thumbUrl":690,"material":353,"size":354,"collection":41,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":331},271228,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-li-bai-shi-ju-mo-yi-ming-271228","胡星聚制天衢展彩墨-李白诗句墨",[7,28,349,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ef600043c4459ce768e39dc2b62db0a.jpg",[],7,{"id":694,"slug":695,"title":696,"dynasty":141,"author":191,"museum":20,"description":345,"tags":697,"thumbUrl":699,"material":353,"size":354,"collection":41,"collections":700,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":64},228518,"long-qing-long-xiang-yu-mo-yi-ming-228518","隆庆龙香御墨",[7,349,75,698,348,350],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0eed22f6c2c39f9f3b110d940c5cc7.jpg",[],{"id":702,"slug":703,"title":704,"dynasty":141,"author":191,"museum":20,"description":345,"tags":705,"thumbUrl":707,"material":353,"size":354,"collection":41,"collections":708,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":64},228499,"yong-le-guo-bao-mo-yi-ming-228499","永乐国宝墨",[698,7,75,349,350,706],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a5e618b9a1e1ef8cbd2630ce10e7e3.jpg",[],{"id":710,"slug":711,"title":712,"dynasty":69,"author":713,"museum":20,"description":714,"tags":715,"thumbUrl":716,"material":41,"size":41,"collection":41,"collections":717,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":45},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 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看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[764,26,109,148,77,76,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0adb9a0569f22e39f46e775572262b7.jpg",[],{"id":2027,"slug":2028,"title":2029,"dynasty":430,"author":191,"museum":20,"description":2030,"tags":2031,"thumbUrl":2032,"material":353,"size":354,"collection":41,"collections":2033,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":45},230834,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230834","大般若波邏蜜多經卷","泥金底色沉穆温润，墨色如点漆，通篇小楷排布齐整、行气匀停。起收含蓄内敛，笔画圆融饱满，不见潦草轻浮，尽显写经时的恭敬端严。笔墨间浸着安定清宁的禅意，将宗教仪轨的肃穆与书法的文雅融为一体。观之令人心绪沉静，仿佛能窥见抄经人澄澈无杂的书写心境，是写经书法里的上乘之作。",[28,164,163,27,165,149,7,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63727f9664f70ee7f6c32e4f596e84be.jpg",[],{"id":2035,"slug":2036,"title":2037,"dynasty":430,"author":191,"museum":20,"description":2038,"tags":2039,"thumbUrl":2040,"material":353,"size":354,"collection":41,"collections":2041,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":45},230833,"da-fang-deng-da-ji-jing-juan-yi-ming-230833","大方等大集經卷","这卷写经小楷气息静穆端雅，通卷排布匀整，纵成行横有列，全篇一气贯注，尽显书写时的静定心境。笔法爽劲敦和，点画饱满凝练，结体方正匀停，带着质朴无华的古雅意韵，不见刻意雕琢，以纯粹虔诚的笔意承载经文奥义。沉润墨色晕染泛黄藏经纸，古意盎然，既是佛教典籍的珍贵载体，亦是中古书法的朴素范本，藏着书写者的信仰风骨，静穆之间自含庄严气象。",[28,164,27,163,165,216,7,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0ee359f93ffbe01a9eccbe83910605.jpg",[],{"id":2043,"slug":2044,"title":2045,"dynasty":430,"author":191,"museum":20,"description":345,"tags":2046,"thumbUrl":2047,"material":353,"size":354,"collection":41,"collections":2048,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":45},230780,"hei-mo-yi-ming-230780","黑墨",[7,349,30,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e5cecebffffd5b27f2b392156fd16.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":69,"author":2053,"museum":20,"description":772,"tags":2054,"thumbUrl":2058,"material":353,"size":354,"collection":41,"collections":2059,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":64},229718,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-yi-yun-mo-cao-su-gong-229718","曹素功 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[148,775,349,2575,76,7,77,29,214],"竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8115e473e3323a7dadd4ed114fb6291.jpg",[],{"id":2579,"slug":2580,"title":2581,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2582,"thumbUrl":2584,"material":353,"size":354,"collection":41,"collections":2585,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},272630,"cheng-fen-wen-ju-mo-yi-ming-272630","成份文具-墨",[7,775,1733,2583],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5125a36484d2cbe9979bc58351edf0.jpg",[],{"id":2587,"slug":2588,"title":2589,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2590,"thumbUrl":2591,"material":353,"size":354,"collection":41,"collections":2592,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},272624,"cheng-fen-wen-ju-zhu-mo-yi-ming-272624","成份文具-朱墨",[7,775,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e29942963d7f88811957d5819faf8c9.jpg",[],{"id":2594,"slug":2595,"title":2596,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2597,"thumbUrl":2599,"material":353,"size":354,"collection":41,"collections":2600,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272614,"hai-wu-tian-chou-yun-long-xi-zhu-wen-mo-yi-ming-272614","海屋添筹云龙戏珠纹墨",[7,775,75,2598,350],"云龙戏珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03197880eed3435c76a64be069cfd64e.jpg",[],{"id":2602,"slug":2603,"title":2596,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2604,"thumbUrl":2605,"material":353,"size":354,"collection":41,"collections":2606,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272613,"hai-wu-tian-chou-yun-long-xi-zhu-wen-mo-yi-ming-272613",[7,75,2598,775,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eeb781d06838961e3124a1f6941b6c.jpg",[],{"id":2608,"slug":2609,"title":2596,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2610,"thumbUrl":2611,"material":353,"size":354,"collection":41,"collections":2612,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272612,"hai-wu-tian-chou-yun-long-xi-zhu-wen-mo-yi-ming-272612",[7,75,2598,350,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d30d0b3e13130532f79b2efe197643c.jpg",[],{"id":2614,"slug":2615,"title":2616,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2617,"thumbUrl":2618,"material":353,"size":354,"collection":41,"collections":2619,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},272611,"yi-shui-yu-xiang-zheng-hei-mo-yi-ming-272611","易水余香正黑墨",[7,775,350,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a88f588856fb83adc5f42c2f051e3e.jpg",[],{"id":2621,"slug":2622,"title":2623,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2624,"thumbUrl":2626,"material":353,"size":354,"collection":41,"collections":2627,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272610,"en-ming-jin-wan-nian-hong-zhu-mo-yi-ming-272610","恩铭进万年红朱墨",[7,723,775,1786,2625,350,2508],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcc3ca995c8075be19ea5685a87e835.jpg",[],{"id":2629,"slug":2630,"title":2631,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2632,"thumbUrl":2633,"material":353,"size":354,"collection":41,"collections":2634,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272609,"chen-yi-jin-wan-nian-hong-zhu-mo-yi-ming-272609","陈彝进万年红朱墨",[7,723,775,350,1786,975,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85344f03852b2186bc618798f82627fb.jpg",[],{"id":2636,"slug":2637,"title":2596,"dynasty":69,"author":191,"museum":20,"description":345,"tags":2638,"thumbUrl":2639,"material":353,"size":354,"collection":41,"collections":2640,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},272608,"hai-wu-tian-chou-yun-long-xi-zhu-wen-mo-yi-ming-272608",[7,75,2598,350,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0f4725f9fe690baff5a4289418efc5.jpg",[],{"id":2642,"slug":2643,"title":2644,"dynasty":141,"author":191,"museum":20,"description":345,"tags":2645,"thumbUrl":2646,"material":353,"size":354,"collection":41,"collections":2647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":331},272607,"wang-long-quan-wu-rui-ying-kui-mo-yi-ming-272607","汪龙泉五瑞应奎墨",[7,775,349,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[28,108,55,634,24,29,109,281,5594,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c10973ed89f3c847a44a0a2262a3ed.jpg",[],{"id":5606,"slug":5607,"title":5608,"dynasty":69,"author":1966,"museum":20,"description":1967,"tags":5609,"thumbUrl":5628,"material":353,"size":354,"collection":41,"collections":5629,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},241635,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241635","致老夫子大人札",[28,55,39,7,5610,347,5611,5612,5613,5614,5615,5616,5617,5618,5619,5620,5621,5622,5623,5624,5625,5626,5627],"手札","毛笔","书信","墨迹","竖排","繁体","纸质","墨书","清代书法","行书书法","手札形式","传统书信","毛笔书写","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":5631,"slug":5632,"title":5633,"dynasty":69,"author":5634,"museum":20,"description":5635,"tags":5636,"thumbUrl":5637,"material":353,"size":354,"collection":41,"collections":5638,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},241316,"lu-wen-zhou-wang-wu-jiu-241316","录文轴","王无咎","王无咎，生卒年不详，字藉茅，河南府孟津县人。性孝友。顺治丙戌科进士，授庶吉士。历官太常寺正卿。善诗文，工草书。",[28,55,146,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70d2ea10606a36e32497d469128c5d0.jpg",[],{"id":5640,"slug":5641,"title":5642,"dynasty":69,"author":5643,"museum":20,"description":5644,"tags":5645,"thumbUrl":5646,"material":353,"size":354,"collection":41,"collections":5647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},241190,"zhi-song-mu-zhong-luo-zha-zhu-yi-zun-241190","致宋牧仲(荦)札","朱彝尊","朱彝尊（公元1629年10月7日－1709年11月14日），字锡鬯（chàng），号竹垞（chá），又号醧（yù）舫，晚号小长芦钓鱼师，别号金风亭长，浙江秀水（今属浙江省嘉兴市）人 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