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家世传业，通文字训诂之学\n莫友芝著述甚多，他的《宋元旧本书经眼录》及附录、《知见传本书目》、《恃静斋藏纪要》，为目录版本学者所重视；《他的《郘亭遗诗》八卷，收集诗作546首，《郘亭诗抄》六卷，收401首，《影山词》二卷，外集一卷，收集词作百余阕，另有《素阴杂记》一卷，《樗茧谱注》一卷（按：《樗茧谱》一卷，郑珍著。），《资治通鉴索隐》等。此外，他还收集了贵州266家诗人的诗2290余首，编成《黔诗纪略》三十三卷。这些著作，有很高的文学价值和史料价值。",[47,64,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f10c81f241fbe5c57c1134e7425a58.jpg","128×32cm×4",[53],{"id":94,"slug":95,"title":96,"dynasty":42,"author":97,"museum":44,"description":98,"tags":99,"thumbUrl":100,"material":101,"size":102,"collection":32,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},239939,"zhuan-shu-di-zi-zhi-ba-tiao-ping-wu-xi-zai-239939","篆书弟子职八条屏","吴熙载","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[63,64,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae630aa3af825477af4f1f99c4f81e1.jpg","未知","Xcm*Xcm",[],19,"795548",{"id":107,"slug":108,"title":109,"dynasty":42,"author":110,"museum":44,"description":111,"tags":112,"thumbUrl":113,"material":101,"size":102,"collection":32,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":37},240455,"zhuan-shu-si-tiao-ping-wu-chang-shuo-240455","篆书四条屏","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》。",[64,47,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0994dff2886c630277484f2afb04d08e.jpg",[],16,{"id":117,"slug":118,"title":119,"dynasty":42,"author":120,"museum":44,"description":121,"tags":122,"thumbUrl":125,"material":101,"size":102,"collection":32,"collections":126,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":37},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。",[123,63,47,77,7,50,124],"高清","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162bbf418323ec59aee6ce0ccfdae51b.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":42,"author":131,"museum":44,"description":132,"tags":133,"thumbUrl":134,"material":101,"size":102,"collection":32,"collections":135,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[123,47,77,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bcc0ef104d2131a7e6e7e9808c7cf7.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":42,"author":140,"museum":44,"description":141,"tags":142,"thumbUrl":143,"material":101,"size":102,"collection":32,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":37},240411,"zhuan-shu-shuo-wen-xu-liu-tiao-ping-zhao-zhi-qian-240411","篆书说文叙六条屏","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》。",[64,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267b6f8c014f4c7a10fd7acd3abb7fca.jpg",[],12,{"id":147,"slug":148,"title":149,"dynasty":42,"author":131,"museum":44,"description":150,"tags":151,"thumbUrl":152,"material":101,"size":102,"collection":32,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":37},240634,"si-zhen-ping-deng-shi-ru-240634","四箴屏","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[47,77,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371ea18d7a0f5926babcfa01d235ec32.jpg",[],11,{"id":156,"slug":157,"title":158,"dynasty":42,"author":159,"museum":44,"description":160,"tags":161,"thumbUrl":168,"material":101,"size":102,"collection":32,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":105},273087,"mu-bian-xiu-ju-hua-tu-ping-yi-ming-273087","木边绣菊花图屏","佚名","此作对幅分摹春秋小景，以针代笔，尽显女红匠心。左幅梅枝虬曲，竹影清疏，灵雀振翅穿林，绣线晕染出鸟羽的柔润光泽，梅花点点饱满鲜活，将春日生机凝于缎面。右幅秋菊含芳，山茶缀枝，细针密线勾勒出花叶舒展之态，配色柔雅古淡，晕染自然。\n木框搭配回纹织锦镶边，衬得绣面愈发隽秀脱俗，把文人花鸟的清雅意趣融于指尖绣艺，娴静雅致，是晚清闺阁刺绣的上乘之作。",[162,7,30,163,164,165,166,167],"刺绣","梅","竹","菊","飞鸟","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7295acaf5e5984f70ef3c781e9a38b6a.jpg",[],7,{"id":172,"slug":173,"title":174,"dynasty":42,"author":175,"museum":44,"description":176,"tags":177,"thumbUrl":178,"material":101,"size":102,"collection":32,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":37},240247,"si-tiao-ping-bao-shi-chen-240247","四条屏","包世臣","包世臣（1775一1855），安吴（今安徽泾县）人。清代学者、书法家。包世臣是北宋名臣——包拯二十九世孙。字慎伯，晚号倦翁、小倦游阁外史。嘉庆二十年举人，曾官江西新喻知县，被劾去官。包世臣学识渊博，喜兵家言，治经济学。对农政、货币以及文学等均有研究。28岁时遇邓石如，师从学篆隶，后又倡导北魏。晚年习二王。自称：“慎伯中年书从颜、欧入手，转及苏、董，后肆力北魏，晚习二王，遂成绝业。”自拟为“右军第一人”，自负之极。包世臣的主要历史功绩在于通过书论《艺舟双楫》等倡导碑学，对清代中、后期书风的变革影响很大，为书界称颂。",[63,50,48,47,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440eb73fcca47dbb95b3e2f4c992bb6b.jpg",[],5,{"id":182,"slug":183,"title":184,"dynasty":42,"author":185,"museum":44,"description":186,"tags":187,"thumbUrl":188,"material":101,"size":102,"collection":32,"collections":189,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},240820,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240820","行诗文四条屏","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[47,48,25,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6562d422d579044ab0acfd5f7e13c0.jpg",[],1777535726162]