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北书风的造诣。以画入书，让笔墨自带画面张力，把时代赋予的厚重情怀凝于笔锋，观之如闻低回慨叹，不拘一格的气度尽显于点画之间，文字亦承载起动人的情绪重量。",[69,195,196,197,198,80,81,82,83,84,7],"民国书法风格","笔墨流畅","运笔遒劲","墨色浓淡","纸本墨笔",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":205,"museum":173,"description":206,"tags":207,"thumbUrl":222,"material":223,"size":224,"collection":87,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":90},234056,"shan-shui-ce-dong-qi-chang-234056","山水册","董其昌","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,208,29,27,98,55,209,28,210,211,7,212,213,214,215,216,217,75,177,218,219,220,221],"册","临摹","峰峦","秋树","瀑布","房屋","疏林","坡石","烟雨","松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],20,{"id":228,"slug":229,"title":230,"dynasty":49,"author":231,"museum":173,"description":232,"tags":233,"thumbUrl":235,"material":236,"size":237,"collection":187,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":44},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","倪瓒","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[26,69,75,98,116,234,7,114],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[187],18,{"id":241,"slug":242,"title":243,"dynasty":150,"author":244,"museum":110,"description":245,"tags":246,"thumbUrl":250,"material":87,"size":87,"collection":87,"collections":251,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":44},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","陈字","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,25,26,27,29,28,7,32,247,34,248,58,57,100,249,212],"孤舟","亭","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":18,"author":256,"museum":173,"description":257,"tags":258,"thumbUrl":259,"material":260,"size":261,"collection":87,"collections":262,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":90},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","蓝瑛","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 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一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[75,69,26,7,388,389,390,82,391,392,177],"塔","江岸","人家","钟鼓","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028578950f49074aacd012260e132db8.jpg",[187],{"id":396,"slug":397,"title":398,"dynasty":18,"author":399,"museum":110,"description":400,"tags":401,"thumbUrl":405,"material":297,"size":298,"collection":87,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":90},241059,"qi-jue-shi-zhou-wang-jie-241059","七绝诗轴","王节","王节（1599年—1660年），字贞明，号惕斋，吴县（今江苏苏州）人。明崇祯十二年（1639年）举人，顺治中任桃源县教谕。工山水，又工于诗。",[131,24,25,26,69,98,177,402,403,7,84,404],"楚江","碧水","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e12a6bc9f186510556459f437a5c41.jpg",[],2,{"id":409,"slug":410,"title":411,"dynasty":150,"author":412,"museum":110,"description":413,"tags":414,"thumbUrl":423,"material":297,"size":298,"collection":87,"collections":424,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":90},240888,"shi-zhou-tang-ying-240888","诗轴","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[25,75,26,69,177,415,416,417,321,418,419,420,421,7,422],"月","山","天","雲","松","花","海","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":49,"author":429,"museum":128,"description":430,"tags":431,"thumbUrl":437,"material":87,"size":87,"collection":87,"collections":438,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":90},221800,"shu-ti-hua-qi-yan-jue-ju-feng-zi-zhen-221800","书题画七言绝句","冯子振","本开为元人书蹟二幅，右幅为冯子振书七言诗，诗句中称「陆有居庐水有船，青山倒景逼沙边」，左幅是赵岩书七言诗，中有「一片晴帆欲拂天，林云江月淨娟娟」二句。从诗文内容推测，二人所题应是表现江南山水景观之画，且是「奉皇姊大长公主命题」。至元二十三年(1286)忽必烈求贤于江南，冯子振与赵孟頫同在被推荐之列，曾官集贤待制。赵岩则为驸马鲁王所识，曾应公主旨意作赋而获赏，在公主所藏画作上常能见此二人题诗",[75,69,98,25,177,247,7,432,433,434,435,436],"沙边","江月","帆","天林云","湖柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf67498e3e2d51d3052533a6f22027f.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":150,"author":443,"museum":110,"description":444,"tags":445,"thumbUrl":453,"material":297,"size":298,"collection":87,"collections":454,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":90},241509,"qi-lv-shi-zhou-chen-bao-chen-241509","七律诗轴","陈宝琛","陈宝琛（1848—1935年），字伯潜，号弢庵、陶庵、听水老人，福州闽县螺洲（今福建省福州市仓山区螺洲镇）人。晚清大臣、学者，刑部尚书陈若霖曾孙。\n同治七年（1868年），考中进士，授翰林院庶吉士历任编修、翰林侍讲。直言敢谏，连同张之洞、张佩纶、宝廷成为“枢廷四谏官”，出任江西学政，累迁内阁学士、礼部侍郎。中法战争后，推举的唐炯、徐延投办事不力，坐罪降职。回乡赋闲，发展家乡教育事业。宣统元年（1909年），调入京城，充任礼学馆总裁、内阁弼德院顾问大臣、正红旗汉军副都统，成为宣统帝溥仪的师傅，监修《德宗实录》。工书法，学黄庭坚，又擅画松。",[75,26,69,177,446,7,392,447,448,449,450,451,452],"黄菊","橘","蛙","鸿","宿草","新墳","尊酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92de7a0e72a59414ef3c9c2999945e96.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":150,"author":50,"museum":110,"description":459,"tags":460,"thumbUrl":464,"material":297,"size":298,"collection":87,"collections":465,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},270600,"wang-jin-sheng-wang-chuan-tu-mo-yi-hu-mo-yi-ming-270600","汪近圣辋川图墨-欹湖墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[461,176,75,7,114,462,463,247,29],"墨","湖水","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a4eec41a32ee31c762aa6215622a0e.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":150,"author":50,"museum":110,"description":470,"tags":471,"thumbUrl":473,"material":297,"size":298,"collection":87,"collections":474,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},241068,"shi-han-he-juan-yi-ming-241068","诗翰合卷","此卷行书笔意兼具疏朗与跌宕，右卷大字开张朴拙，左卷小字灵动秀润，墨色干湿浓淡层次丰盈，尽显随性萧散的林下之风。\n\n整卷录赠答、纪游诸诗，将行旅烟波、林泉雅兴付诸笔端，诗与书相得益彰，带着山林文人的疏放意趣。字里行间藏着旧友寄赠、名山访道的雅致交游，笔墨游走间，把海天夜航、峰麓登眺的清景化入笔底，既有禅意清寂，又存俗世雅怀，是诗书合璧的佳构，尽显旧时文人以墨寄情的风流雅致。",[25,472,75,69,177,98,7,114,247,80,116,234,248,117,29],"长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311b1e01fb8d0cc07918139109fee4ad.jpg",[],1777535715602]